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. Long live the inexorable passage of time has cast most of views the current music industry wars hot seat and the poor sucker who sits in it. those musicians, and their thankless efforts, regarding the Internet and the transfer of Long live guest lists and mailing lists. into the shadows of obscurity. music files via MP3. As if any of them Drink tickets. Long live the guy with the Still, it is the musicians after all, the would ever receive a farthing from a label, weed. Long live roadies and sound men and the guy with all the keys. Long live patient “Elliott Smith was thrust into the national spotlight boyfriends, girlfriends, husbands, wives and children, who suffer the nocturnal and when his song ‘Miss Misery’ was placed in the 1997 solipsistic life of the musician. film release Goodwill Hunting. Overwhelming Long live the patrons who support the music. Somehow it still always works out public response to the film led to several Academy to ten bucks a player, no matter what. Long live lawyers and accountants and A&R Award nominations, including one for Elliott, for flaks. Without them music would be free ‘Best Original Song.’” and spontaneous. Long live broken drum- sticks and broken guitar strings, broken thousands and thousands of artists and under any circumstance! What the industry piano keys and broken promises. Long live musicians, who spent millions of hours dogs fail to understand is that MP3 is not groupies. Long live fans. The ones who rehearsing in basements and garages all about money. It’s about music. love you. The ones who say you suck. The across Portland. Artists and musicians— The music. Long live the music. Long critics. The supporters. The hangers-on. who made little or no money. Artists and live the basement, the garage. Long live the the clued-in and the clueless. The fish and musicians— always the last to be paid. neighbors who call the noise police. Long the sharks. Long live the music and the Always the first to be screwed. Artists and live the smelly bars with rat-like owners and musicians who, in the face of all odds and musicians— the most out of place in the rotting stages that smell of stale smoke, obstacles— make it.

On A Llama, Belmont’s, September 1995 photo Buko

6 – TWO LOUIES, September 2000 want to begin with a shout out to Thane pear trees with a koi pond, bridge and a donkey have to call for support. Thane handled it like a Stumbaugh. Hey Thane, thanks for hav- pinata strung high in a fruit tree. In the garage, polite pro. He graciously said good night and Iing the best summer party I attended people were betting on three card Monty and the looked honestly disappointed that he had not this year. It’s my pick of the month. I went with a glow of smiling faces given us a tour. Oh, the responsibilities of a couple of good friends matched the band playing, charming host. I hope he doesn’t get discouraged and when we arrived which I found out later were from having this annual event, because it’s the fashionably late called Starbugs. I liked every best home party in town. to his fan- song and they had the crowd Roark Gourley , the Forking Guy and his tas- merry troupe of pranksters, came to town and Forked Portland. We all met up at Groundswell Cafe and Gallery where Styphen Spyrit, Bunny Hoffmeister, Lauren Mantecon and Fuzzee Rosebud Doodah were wowing the crowd! The Forking of Portland turned out to be a smashing success as well as the Groundswell Cafe and Gallery, Summer Evening Showcase. tic home dancing. Two of the four members are from Harriet Fassenfess has quite a sweet and on NE 25th and Russia and the other two are from the states. happening spot on the corner of NE Alberta and Alberta, we found absolutely no parking because There were three kegs of microbrews, some deli- 18th Street. The group of artists that descended there were already so many people there. We got out of the car and heard the sounds of rock “In the garage, people were betting on three card Monty music drifting towards us on a cool breeze. Walking up to the house we saw Thane and the glow of smiling faces matched the band standing on the porch greeting guests. He looked playing, which I found out later were called Starbugs.” smashing in a sheer ruffled shirt of many colors. He seemed more mature than I remembered cious hard cider, grilled oysters and Ethiopian on her new café that night of Summer Showcase, him, but obviously, he’s still a man that was not food from Queen of Sheba that was spread out was a grand combination of Portland’s most cre- yet turned thirty. on a large picnic table. When Gypsy Caravan ative and supportive people. Anyway, we entered the crowded house and arrived looking exotic, everyone cheered while In the gossip wind is a new club called I was floored at how much work he had done on they seduced us East, owned by John Plummer of Johnny Sole his classic Portland home. The with their danc- and Mike Quinn of Monqui Presents. I spoke outside had ing. The highlight to John Plummer and he said, “ It’s a hole in been com- of the evening the wall on NW Everett between 3rd and 4th pletely was Thane’s Street. It’s 3/4’s of the way opened. We’re going scraped and shirt, but to have he said that he Starbugs were a small logo on the door and serve excellent had done it all right up there. cocktails”.Johnny Sole is also hosting the kick-off himself, with As we NXNW Poster Party at his store on SW Alder, the help of his were leaving, Wednesday, September 20th. business part- we came upon Mike King, artist extrodinaire is organizing ner, Michael. Thane getting it and John says they’re hoping to get a fabulous Inside a noise ordi- vodka company to sponsor the annual event. there were revel- nance ticket Also, on the tongues of the hip is Michael ers waiting in from a Hebb of Ripe Catering. Seems that he and his lines to both young, lovely “expecting” partner are going to be bathrooms as we handsome doing the food for the soon to be opening followed the mov- Portland Chinese Garden (The Garden of the ing herd through Policeman Awakening Orchid) in Old Town. This long the kitchen full of who spoke awaited sacred garden and tea house spot, will beautiful people up and be a culmination of many people trying to pre- mixing drinks and told us serve Old Town. partying. We slowly that he Fifteen years in the making, this symbolic made our way to the was attempt to combine nature, the Chinese com- back door, which sorry he munity and the people of Portland, will hope- spilled out to a fantas- wasn’t invited to fully succeed. The lesson seems to be that we tic backyard. It was what looked like a great party. He explained that have to embrace our city and not get hung up dimly lit with Tiki torches and Christmas lights there had been a complaint and that the party on condos and golf courses. (Good Luck!) strung across trees. There were fig, apple and had to shut down in fifteen minutes, or he would Write to me: [email protected].

7 – TWO LOUIES, September 2000 remaining $100,000. The record company’s right to reimbursement is carried forward from album to album. Let’s take, for example, an extreme (and RECORDING CONTRACT ADVANCES other expenses as well. admittedly unrealistic) situation, which I am One of the most frequently discussed, and 2. “Recording Funds.” In the case of “record- exaggerating here to make a point. most hyped, aspects of recording contracts is the ing funds,”on the other hand, the record compa- Let’s say that a band receives $200,000 for issue of advances. ny pays a certain specified amount of money the first album, and (to make it very simple), let’s Generally speaking, advances are designed directly to the band on an album-by-album also say the record sells zero units and therefore to cover recording costs, and also (at least in basis, which the band then uses to pay for record- generates absolutely no royalties. Then the band major label situations) to provide a certain ing costs, etc. If anything is left over, the band records a second album for $250,000, and that amount of money to cover some of the band’s will pocket the balance. Theoretically this is record also generates no royalties. So, when miscellaneous other expenses. A separate advance is paid for each album recorded by the “If the band’s total royalties ultimately end up being band for the record company. Recording contract advances are often less than the total advance(s) paid to the band, the mega-hyped in press reports. For example, it is not unusual for a record deal for a new band to record company will, under the terms of the usual be hyped as a “million dollar deal,” whereas in recording contract, have to ‘eat’ the shortfall, since the fact that “million dollars” is to cover, for example, the recording budgets for four albums at record company will only be entitled to be repaid $250,000 per album, all of which will be from the band’s record sales royalties.” recoupable from the band’s future royalties. A relatively small portion of that money designed, among other reasons, to give the band starting the third album (assuming that the band will go into the band’s pockets as cash advances, an incentive to record the band’s albums as cost has not already been dropped from the label at and even that portion will be further reduced by effectively as possible, since the band gets to keep that point, which obviously is a very, very ques- deductions for management commissions, taxes, whatever money it does not end up spending on tionable assumption), the band is going into the etc., with the balance then usually spent soon recording costs. However, as a practical matter, third album already $450,000 in the hole. (In thereafter for living expenses, new equipment, however, even bands paid on this “recording reality, the band in that scenario would likely be etc. And, like advances for recording costs, any fund” basis frequently run over-budget. even further in the hole, due to the record com- such cash advances will be entirely recoupable by Also, even in the case of this “recording pany’s recoupable advances to make music the record company from the band’s future roy- fund” structure, there will often still be a record- videos, etc.) alties. ing budget drawn up so that the record company If the band then gets an advance for the will have some assurance that the band will not third album of another $250,000, then the band “RECORDING BUDGETS” AND be trying to record the album too cheaply or too is already $700,000 in the hole when the third “RECORDING FUNDS” expensively. Under many contracts for new album is released. As a result, the band will see There are two different ways in which bands, the band will not be entitled to start the absolutely no record royalties from the third recording contracts can deal with the issue of recording of an album until the record company album until the total royalties from album sales advances: (1) By providing for “recording budg- approves the budget. exceed the amount of $700,000. In short, the ets”; or (2) By providing for “recording funds”. Typically, part of the recording fund will be record company has the right to recoup from an In other words, the typical recording contract paid at the beginning of the recording project album’s royalties not only the advance for that will be structured either on a “recording budget” (often one-half), with the balance to be paid album, but also any past advances for earlier basis, or alternatively, on a “recording fund” upon the band’s delivery of the masters to the albums which have not yet been recouped. basis. record company. There is also the “rolling accounting” prob- 1. “Recording Budgets.” In the case of lem to consider. Often once royalties are starting recording contracts based on “recording budg- ADVANCES ARE NOT GIFTS to be earned on a prior record, the recording ets,” the record pays the recording costs directly Advances are, in effect, merely loans to the company is just starting to pay the costs of the to third parties, such as recording studios, based band, which will be deducted by the record com- next record, and deducting the new costs from on recording budgets to be approved by the pany from the band’s record sales royalties, but the royalties about to be paid. record company. The record company holds on only from those royalties. If the band’s total royalties ultimately end to the money until the costs are incurred, and So if the recording costs for an album (and up being less than the total advance(s) paid to then makes payment for those costs directly to related cash advances to the band) are $200,000, the band, the record company will, under the those third parties (such as recording studios). and the album generates $300,000 in royalties terms of the usual recording contract, have to The record company may also advance the payable to the band, the record company will “eat” the shortfall, since the record company will band, separately, a certain specified amount of reimburse itself (recoup) from royalties the first only be entitled to be repaid from the band’s money for the band’s anticipated living expenses $200,000 (in order to reimburse itself for the record sales royalties. The band members will during the recording project, and sometimes for $200,000 advanced), then pay the band the not be personally responsible for repaying the

8 – TWO LOUIES, September 2000 advance, hence such advances are generally will state the minimum and maximum amounts $300,000, whereas for the third album the mini- referred to in recording contract legalese as for each such album advance. mum might be $250,000, and the maximum at “recoupable but non-returnable advances.” Any The structure for these minimums and $350,000. “Any band should be absolutely sure, before signing a CONCLUSION Given all of these various factors, it’s easy to recording contract, that the contract allows the record see why seemingly successful bands sometimes receive much more modest levels of income than company to recoup advances from only the band’s one would otherwise expect. These various fac- artist royalties, and not also from the band’s tors also illustrate why it is so important for a band to structure its record deal in the most favor- publishing royalties from record sales.” able way possible. Editor’s Note: Bart Day is a Portland-based band being signed should be sure that its record- maximums is usually as follows: The contract entertainment attorney in private practice. He is ing contract contains similar wording. will specify a certain set amount for the first also a partner in ALLMEDIA, Ltd., a company album’s advance. For albums after the first with offices in Portland and Los Angeles. ALL- “CROSS-COLLATERALIZATION” album, the contract will specify (for each album) MEDIA specializes in administering the licensing Incidentally, and this is extremely important, a minimum dollar-amount advance (called “the of music for film, television, commercials, and any band should be absolutely sure, before signing floor”), but will also provide in effect that if the websites, and represents various record labels, a recording contract, that the contract allows the album sells well, the advance for the next album independent music publishers, and Internet record company to recoup advances from only the will be computed at 60% to 70% (typically, two- companies. band’s artist royalties, and not also from the thirds) of the royalties earned to date by the band Bart is also the co-author of a chapter in band’s publishing royalties from record sales (i.e., from the prior album (or sometimes, the average The Musician’s Business and Legal Guide, a the “mechanicals”). In recording contract parl- royalties earned from the prior two albums), but book compiled by the Beverly Hills Bar ance, the record company should be contractually only up to a certain specified maximum amount Association and published by Prentice-Hall barred from “cross collateralizing” against (called the “ceiling”). Publishing (New York). mechanicals.MINIMUMS AND MAXIMUMS Typically, these minimum and maximums The reader is cautioned to seek the advice of Recording contracts usually specify that a will increase from album to album. For example, the reader’s own attorney concerning the applica- certain dollar-amount of advance will be paid sep- the minimum amount for the second album bility of the general principles discussed in this arately for each album under the contract, and might be $200,000 with the maximum at column to the reader’s own activities.

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9 – TWO LOUIES, September 2000 quality. The sparse, understated arrangements play are securely fixed. That much is certain. to Low’s many strengths: the chief of which are his highly emotive singing voice— a rich baritone, and Furthermore – Feller; Self-Produced his poet’s eye for telling detail. Here is a fine effort from and up-and coming The first track,“Mexiquita,”is a good example quartet of Folk Rockers. Ably abetted here by ex- of the aforementioned. Over a solitary acoustic Slackjaw bassist Robert Bartleson, who engineered guitar Low sings a forlorn ballad about a doomed this recording, the band, consisting of drummer love affair. Hord’s accompanying melancholy vio- Daniel Gero, bassist Carter Hill and singer/song- lin tones seem metamorphosed in the mix into writer guitarists Scott Barton and Jack Wilcox. moaning cries. Little Sue harmonizes sweetly, ala Individually and together they create some very Emmylou Harris. Melodically, the song occasional- interesting original music. ly recalls faint strains of Paul Simon’s “Lincoln The album kicks off with “Me For Free,” a Duncan” and “Scarborough Fair.” rousing Barton tune, propelled by Gero solid drum Hess’ smooth standup bass and soft brush- hits and the incessant jangle of acoustic rhythm work on the trap set, in addition to Brainard’s guitars. Wilcox counters with “Old King,” which plaintive trumpet, lend a peculiar Jazz ambiance to feels a bit like the work of Dave Matthews. the subdued “Built To Last.” Brainard’s pedal steel But the record really gets going with the phrasings add an early Neil Young Country feel to whacked out intro of “Headed West.” Against a the beautiful “Carver Blues.” Tension builds slowly palette of splattering electric guitar wanks, a and solemnly in the nervous energy of “Soledad,” a determined little electric guitar motif sneaks out song that bears some stylistic similarities to Neil of the mix, to eventually become surrounded by Young’s “Last Trip To Tulsa,” from his first solo syncopated drums, sparse bass and snappy album; but, perhaps, an even grimmer scenario. acoustic guitar hammers into the body of the The gritty symbolism behind “Miner’s song. Extremely cool. Lullabye” is the type of composition to which every Barton’s “Heavy Gone” rides upon a flickering songwriter aspires in one way or another. It sounds acoustic guitar ornament and Hill’s stylish upright as if it could have been written a hundred years basswork. A moody number, the song falls like an ago— always a part of the public vernacular. Like Autumn fog around the ears of the listener. Finger- “My Darlin’ Clementine” or “Streets Of Laredo.” picked acoustic filigrees dance around thick elec- Mexiquita – James Low “Sing little bird/Sing for the skies in your free- tric guitar tones. A very seductive song. Wilcox’ Secret Sound Recordings dom/It’s dark in this hole and our bodies are bond- instrumental “Medora” maintains the pensive Here’s a great debut recording from a rising ed/Yours to the miner/And mine to the coal.” The atmosphere. local star, the first release from the fledgling Secret melodic aspects of the song resemble Young’s Nice, subtle touches of backwards guitar and Sound Recordings label; Marc Baker’s new entry in “Runnin’ Dry,” from his second album Everybody a vocal line which closely mirrors that of Thomas the local marketplace. Baker honed his A&R chops Knows This Is Nowhere.” But the sentiments of Dolby on his early ‘80s number, “Mulu The through years spent as the manager of Crazy 8s, as hopelessness and desperation have never been Rainforest,” provide the impetus on Barton’s well as conducting KBOO’s “Church Of The more succinctly expressed. Timeless. “Scar.” A great piece of poetry acts as the lyric. Northwest” radio show. So it would stand to reason “Endless River” traces a laidback Country “Drove his first nail into clear grain frame/Cladding over shadow/Peeking edges “Low’s consistently well written songs are low-key jagged peaks building shelter/In the valley deep and becoming giant in his scar.” but edged with a sense of menace and drama. His The momentum of insistent 6/8 time pushes the initial verses of Wilcox’ “Fine,” breaking into attraction to the darker regions of the soul lends the 4/4 deeper into the song. Wilcox adds a gruff vocal material a distinctive human quality.” to the jagged guitars of “4 AM.” A similar feel drives “Get Up.” “Multnomah” is a fleeting house that he knows a thing or two about local music and vibe, closer to the early Eagles than Merle Haggard; of a song. how to market it to the public. but abetted nicely by the versatile Brainard’s stellar Feller exhibit tremendous inventiveness and His choice of the understated James Low for pedal steel guitar-work. “Blackcoat” explores a originality with this outing. Whatever their musical the inauguration of his label was a wise one. Low is Western Cowboy” motif, along the lines of “Tom and poetic influences, they have worn them well possessed of a simple Country/Folk style that Dooley” or “El Paso.” absorbed into their own individual psyches, And melds well with those of the familiar coterie of The Folk/Pop sensibilities of “You Said” mir- with this recording they have created one of the side-musicians enlisted for this project— including ror those of the Beatles and the Beach Boys, deli- best local albums of the year. such “usual suspects” as Little Sue Weaver on back- cate and well-delineated. ground vocals, Paul Brainard on pedal steel guitar James Low’s is an apt moniker. None of his Mr. Rosewater – Mr. Rosewater; Self-Produced and trumpet, Marilee Hord on fiddle and produc- songs are likely to knock one over the head with Here’s an entry from the winners of this year’s er Nancy Hess on background vocals and other sturm und drang. But the accomplished crafts- “Most Likely To Have Graduated From The sundry instruments. manship in his work is undeniable. And the con- MHCC Jazz Program” award. What we have are Low’s consistently well written songs are low- cise elegance in his delivery is indisputable. some pretty solid young Jazz musicians spreading key (so to speak), but edged with a sense of menace Whether there is a place in the technicolor Rock their wings and expecting to fly. And they, especial- and drama. His attraction to the darker regions of world for a black and white, film noir scenarist ly the core group of drummer Evan Louden, bassist the soul lends the material a distinctive human such as Low, remains to be seen. But his abilities Jason Mellow and guitarist Andrew Field, evince

10 – TWO LOUIES, September 2000 solid training in their crafts, with talents that would exhibits real talent in holding down the fort behind seem to indicate eventual success, either individu- the drumkit. “Pagoda” displays some vocal prom- ally or collectively. ise, with a bit of a gang rap. And “Rhombus” allows Still, in the case of Mr. Rosewater, committing Smith room to show off a smart lick. their musical exercises to disc seems a tad prema- Most of all, Mr. Rosewater desperately needs a ture. It’s as if half the band were missing or that vocalist— someone to impart a lyrical viewpoint. A these are the basic tracks for a more complete proj- junior Donald Fagen would be perfect. But anyone Do You Still Dream... – The Orange Collection ect. Field and company don’t seem to lack for ideas. with the disposition and faculty to handle the role Self-Produced And their execution is relatively sharp. would work better than nothing. A keyboardist The Orange Collection are a pair of enterpris- But there are no vocals here. It is left to Field would be good too. Someone to add coloration and ing young lads who demonstrate a propensity for a and saxist Thomas Smith to carry the lead load. While their efforts are admirable, they do not at “Mr. Rosewater desperately needs a vocalist–someone this time command the array of tones and chops necessary to require the spotlight more than occa- to impart a lyrical viewpoint. A junior Donald Fagen sionally. would be perfect.” Thomas, in particular, seems to be playing by rote the lessons he learned in school; staying entire- take over the lead chores form time to time. These Pop song. While they don’t hit homeruns with ly within a comfort zone, without stretching the things would ostensibly allow Smith and Field every swing, they connect with enough frequency least beyond those boundaries. He is a good Jazz space to play less and make the most of their spots. to hit for a relatively high average. The boys would player, but he has the same tone on practically Both Field and Smith could work to alter their seem to have an agenda and a message to disclose every track. And he never seems to get the least bit tones from time to time. Field rarely strays from a to the world. excited by his musical prospects. Field fares not beefy smooth .lulling sound, that is extremely well- But they keep it reined-in for the most part. much better. suited to Jazz solo work, but lacks the bite to truly The fact is they succeed best when they sing about “Barbecue” seems to take it’s cue from grab the listener. Smith could try to utilize some the things they know and least when they prosely- Brubeck’s “Take Five,” utilizing 5/4 and 10/4 time devices: delays, flangers, etc. The Seattle saxman tize to the heathen hordes. However their touch is, signatures. But Field is no Brubeck in the melodic Skerric of Critters Buggin’ used to sound like Jimi for the most part, comparatively light and inno- rhythm role and Smith is not yet Paul Desmond on Hendrix in the band Sad Happy. But whatever they cent. So they should be forgiven. They know not the sax, though it’s possible Smith fancies himself do, Mr. Rainwater needs to do something to alter what they do. as a disciple perhaps. Evan Louden, however the stifling fog they often create. continued on page 18

James Low photo Basil Childers

11 – TWO LOUIES, September 2000 for a New Year’s eve gig up north and managed to get most of the original members together for the show. The Heats wrote a lot of great tunes includ- ing my favorite “I Don’t Like Your Face” which was coincidentally written shortly after I was intro- duced to guitarist Steve Pearson by a previous girl- friend of his. The Heats made a very quick rise to the top of the NW music scene and many of us thought they were a shoe-in to replace Heart as the northwest’s next big music success story. But for reasons unknown, they soon split up and failed to exploit a rare and often sought after blast of momentum, which they never repeated in their follow up bands, a truly sad event considering all the apparent ele- Greetings Music Makers! off the lower left hand corner of the top to expose ments were in place. Portland must have made a Well it’s been another summer of pool par- some killer curly maple... ooh what a story that gui- good impression on Steve Pearson however, ties and Caribbean keggers and as usual I’ve collect- tar could tell! This guitar was on stage for the because he married Billy Rancher’s sister Ellen ed a huge eclectic mess of pens, T-shirts, hats, ugly Canned Heat set, which I regretfully missed...oops! whom I last saw at a Two Louies party some time sun visers, and frisbees with un-removable logos. It’s I heard that one of my favorite Seattle early ago. I hope the Heats come down to the rose city great to get all this free stuff but I noticed that I eighties new wave cutsie boy bands (they had two soon, and if the show is outside I’ve got a great deal haven’t won any fashion awards recently. My favorite Paul McCartney look alikes), The Heats, reformed on sun visors. “gig-e-nir” however are CD’s that I receive from musicians who attend the events I’m working at. Reptiles bassist Patrick Burke who also works as a freelance photo journalist for the Oregonian kindly forked over their newest album entitled “BITE ME” at a recent Gresham multi-cultural fair. I was surprised anyone would even talk to me after throwing my usual “hissy fit” over no stage cover- ing for a twelve noon start time for our set, even though it was clearly asked for in our contract (most people don’t know that the heat of the sun will knock out the tuning of a steel drum, and most people don’t know what a big whinny sniveling spoiled brat baby I’ve become in my old age), any way, uh! oh yeah! getting back to The Reptiles CD is actually pretty hot. Featuring 14 original cuts this album is a well organized and thought out project that subtly blends in unusual mechanical sounds and crowd noises as well as sound effects courtesy of BBC Enterprises, with a nice assortment of care- fully recorded and written medium tempo rock and roll. FOR THOSE WHO SAIL starts of with great steel string acoustic guitar chording soon to be embellished with lead vocals reminiscent of Mark Knofler yet still sung with an original style and timber. All in all a nice CD with a great 4-panel cover and graphics. The band features Craig Harris on lead and acoustic guitars and vocals, Patrick Burke on bass guitar, acoustic guitar, vocals and machine noise and Bryan O’Doherty on drums and vari- ous remarks. You can find out more about The Reptiles at www.reptilesbiteme.com. I only made it to the Bite for Friday’s music but I heard some great stuff including, Soul Vaccination-FUNKY! and my pick band of the night “44 Long”.The coolest guitar at the gig was an early fifties gold top Les Paul with the finish worn Brian O’Doherty of the Reptiles Craig Harris

12 – TWO LOUIES, September 2000 4811 SE Hawthorne 238-1646 Main Room FRI SEPT 29 FRIDAY, SEPT 15 The Meditations Roger Clyne & Peacemakers Michael D & Onefulness Higher Ground SAT SEPT 30 SATURDAY, SEPT 16 Slobberbone 4th Plain giant Richmond Fontaine WEDNESDAY 10:30-MIDNIGHT Orange Collection 92.7 FM Columbia Gorge Satellite Heroes Acoustic Room MONDAY SEPT 18 Reggae Jam FRIDAY, SEPT 15 100.7 FM Corvallis/Albany Caren Armstrong TUESDAY SEPT 19 Alan Brownsack SATURDAY, SEPT 16 3rd Estate Jono Manson The Reptiles Matt Zikala artist • label • title Sean O’brien LAST MONTH MONTH THIS WEDNESDAY SEPT 20 Djamael WEDNESDAY SEPT 20 21WRITTEN IN ASHES Raincloud CD ...... Epiphany Beech & Michael Lara Michel Higher Ground Ashleigh flynn Leila Chieks 32CAPTAIN BOGG & SALTY Scabby Disc CD ...... Bedtime Stories for Pirates THURSDAY SEPT 21 Thais Perkins Clay Ashes Harrison 52MIKE TOSCHI Global Seep CD ...... Mock Democracy Perusia Juice THURSDAY SEPT 21 ...... Yasha 6331 KNOTS Banghok CD Climax Anti / Climax FRIDAY SEPT 22 Michael Jodell Clumsy Lovers 10 4 MAD HATTIE Roseleaf CD ...... Soul Fishin’ Jazzberry Ram FRIDAY SEPT 22 Human Potential Unlimited SAT SEPT 23 •4DANDY WARHOLS Capitol CD ...... 13 Tales From Urban Bohemia Ex Angels SAT SEPT 23 Insomnia-Plague Bottom Rung 45TOO SLIM & THE TAILDRAGGERS Burnside CD ...... King Size Trouble Makers MONDAY SEPT 25 WED SEPT 27 Reggae Jam Pangs 15SYSTEMWIDE BSI Records ...... Osmani Stepper EP Rob Christenson TUESDAY SEPT 26 •6THE OLD JOE CLARKS Checkered Past CD ...... Metal Shed Blues Pdex THUR SEPT 28 Trophy Wife Lea Krueger 10 6 SUPER SONIC SOUL PIMPS 3SP CD ...... Live Runaway Boys FRI SEPT 29 WED SEPT 27 Lyle Ford •7MAN OF THE YEAR Tiny Beat CD ...... The Future Is Not Now Moss Backs Rob Christensen Seldom Fence SAT SEPT 30 •7MOTHBALL Fat Lip Records ...... Mothball THUR SEPT 28 Dryer Blurtis Dan Jones •8VOYAGER ONE Loveless Records CD ...... From The New Nation… Bye Bye Chinook 98VARIOUS Jerden Records CD ...... History of NW Rock Volume 2 •9KAITLYN NI DONOVAN Demo CD ...... Ceiling Tiles 2000 (Remix) 11 9 HAD HADMUSIC CD ...... HAD •10BINGO Demo CD ...... Final Master 12 10 BUNCO KELLY Demo CD ...... Love is Strong •11JESUS PRESLEY JPX Records CD ...... Come Get Some 13 11 BRANDON SCHAEFFLER Demo CD ...... Brandon Schaeffler •12JEFF LONDON Post Pablo Records 2000 CD ...... Home: Volume 1 •12FREAK MOUNTAIN RAMBLERS You Got Soul CD ...... Freak Mountain Ramblers •13VARIOUS Jealous Butcher Records CD ...... Chico, CA 813RICHARD M. NIXON Jerdem Records CD ...... The Nixon Tapes top tracks

31 WRITTEN IN ASHES Raincloud CD ...... Terrapin 52 CAPTAIN BOGG & SALTY Scabby Disc CD ...... Scurvy •3 MIKE TOSCHI Global Seepej CD ...... Ernesto •4 31 KNOTS Ranghok CD ...... Layman’s Proxy •5 MAD HATTIE Roseleaf CD ...... Soul Fishin’

live offerings at the church

September 13th ...... Kaitlyn Ni Donovan—Live! September 20th . . . . .NxNW Showcase: Joe Davis—Live! The Old Joe Clarks—Live! September 27th ...... TBA October 4th ...... New Release Showcase October 11th ...... Cales Klauder—Live! October 18 ...... Mothball—Live!

13 – TWO LOUIES, September 2000 Keeping The Band Alive: NARAS in Portland by S.P. Clarke

Keeping The Band Alive— NARAS in Portland preservation efforts. set some of my rent until I am able to return to During the year 2000, the National But, as an adjunct to NARAS and the work full-time. Academy of Recording Arts & Sciences has been Grammy Foundation, the service organization Through conversations with Deborah quietly making its presence known in the MusiCares was established in 1989 with the mis- Semer in the Seattle branch office, it became Portland music community. Most people proba- sion to provide human services resources to indi- apparent that NARAS was preparing to be more bly associate NARAS with the Grammy awards. gent music professionals, as well as to provide active within the Portland music scene. Semer, And it is true that NARAS is responsible for the medical and financial assistance for musicians as who is a musician herself, is well aware of the balloting of the Grammys. But the association well as substance abuse treatment. The founda- difficulties musicians face in negotiating the has rewards to offer as well as awards. tion approves funds for over 90% of the requests outside world. The daily operations of the Recording for aid it receives. The first event planned for Portland will be Academy are administrated from the main office MusiCares first became visible in Portland presented in concert with the upcoming North in Santa Monica, California; with chapters locat- last February, when the plight of Jazz vocalist By NorthWest music conference. As well as hav- ed in Atlanta, Austin, Chicago, Los Angeles Nancy King became known. King was being ing a booth at the NXNW tradeshow, NARAS, in Memphis, Nashville, New York, Philadelphia and evicted from her home. And despite her national conjunction with MusiCares, will offer a panel San Francisco. With branch offices located in renown, was unable to afford the move into new entitled “Keeping The Band Alive,” a discussion Miami, Washington D.C. and Seattle. living quarters. MusiCares, quickly sprang to about being in a band, being addicted and get- The primary function of the organization is King’s defense. ting clean. to further the interests of professional musicians The program eligibility committee Panelists will include Harold Owens of and technicians, representing the music com- approved a proposal to provide King with a MusiCares, musicians Bob Forrest, who has munity on issues such as intellectual property stipend to offset three months of rent and secu- played with Theolonius Monk, Duff McKagan rights, record piracy, as well as archival and rity deposits on a new home. But King was not of Guns ‘n’ Roses and Wayne Kramer of the alone in receiving aid MC5; as well a Stone Temple Pilots manager from MusiCares. Steve Stewart. Three months The panel will be conducted at the Embassy ago I suffered a mas- Suites Hotel Downtown at 329 SW Pine Street on sive heart attack Thursday, September 21st, from 2:45 to 4:00 PM. requiring ten days It is a members only function, free to NARAS hospitalization in the members. But a pass for entry is required. Cardiac Intensive Care NARAS members wishing to attend should regis- Unit at Portland ter with Deborah Semer in the Seattle branch Providence Hospital. office. The phone number is 206-633-7833. Non- Once I was released members interested in attending can give from the hospital, Deborah a call as well. Attendees need not be reg- besides attempting to istered at NXNW. recover physically, I In addition, look for booth number 3 at the was faced with med- NXNW tradeshow. There MusiCares will dis- ical bills nearing pense information regarding a Twelve-Step $100,000. Program for musicians only. Former Crosby, And I was unin- Stills, Nash and Young drummer Dallas Taylor sured. Through will be the program director. MusiCares associate friends, Deborah Chanda Rankin will be on hand as well. The pro- Semer, from the gram is fully confidential, of course. Interested Seattle branch office parties should contact MusiCares at 800-687- of NARAS, contacted 4227. me offering the serv- NARAS has other plans for Portland as well. ices of MusiCares. Look for a NARAS-sponsored community music Harold Owens and event to take place some time in the spring of Chanda Rankin of the 2001. It should be a fun affair, combining educa- MusiCares home tion and hands-on training in the area of the office in Santa recording arts. Monica were instru- Musicians often feel they have no voice nor mental in assisting me representation in society. NARAS and MusiCares to negotiate my bill are committed to altering that perception, stand- with the hospital, as ing squarely behind every musician, regardless of well as helping to off- station. ■ S. P. Clarke Photo: Buck Munger

14 – TWO LOUIES, September 2000 SIZZLING END OF SUMMER CD PREVIEW names we see frequently on popular Portland Fisher’s music is sophisticated, piano based, jazz SAMPLER club show listings are the only things we should influenced pop. Though Fisher sounds like he’s pay attention to, but if you really want to get fed trying to be Elton John, complete with matching Los Mex Pistols-Del Norte musically...Willow’s “Chains” makes for a inflections, rather than himself, the music is It takes an awfully big set of maracas to be crunchy meal. squeaky clean and tight. a punk rocker in a Mariachi band. The Eugene based Los Mex Pistols, is a band made up entire- Scott Fisher – 5 song Demo Frisbie: “The Subversive Sounds of Love” ly of west coast punk rockers. In black outfits A lot of work went into the making of this Hear Diagonally Records and dark glasses with bandoleros slung across five song demo. Sheathed in a high-gloss press You get that Beatles feeling when you see their shoulders, this nasty looking bunch of ban- kit, the shiniest one ever before seen by Frisbie’s black and white CD cover sporting five ditos grace the stage performing Mariachi, mankind, and sporting the name of producer Nortena, surf and Torero music. Their CD “Esta Dan Decker, this musician is serious. Scott continued on page 30 Noche We Ride,” is 19 tracks of punk attitude and screaming energy poured over frivolous instrumen- tals and matador dialog. An alternate title for this CD could be Mucho, Macho, Machismo. Latin songs with traditional instru- ments are audaciously sea- soned with cheesy garage band organ and segments of surf music. From the standpoint of true Mariachi, Los Mex Pistols aren’t very traditional, but from the standpoint of punk Mariachi, this stuff is awesome. Viva Los Mex Pistols! May your saddles be soft and your dance floors be crowded.

Willow – Chains; Independent CD Ooh...so mysterious. No contact info....no last name....no website.....no liner notes...no phone number. Just a one-off CD entitled Willow “Chains,” all the more fun. Frantic double time drums across acoustic rhythm and a multitude of minor chord progressions gives a folk- punk impression. Willow’s tap-water clear innocent voice belts non-innocent, socially aware lyrics in sweltering studio perform- ances. This one-off CD appears to be Willow’s freshman work. We are influenced to think that the Los Mex Pistols Del Norte photo Laura Sensabaugh

15 – TWO LOUIES, September 2000 THE GRAND OL' SOAP OPRY On The Cover- Brent Williams, what makes great men stand above the formerly of Love On Ice. Brent’s new d crowd and nobody is questioning Art’s five piece rock project Lodestar is decision to release two albums now. described in the propaganda as “a pas- What might have been... After Vol One’s spectacular debut sionate roots-pop ensemble formed It must have been a tough call for at #9, on Billboard’s Top 200 Albums from a mother-lode of musical talent Art Alexakis when he listened to the chart Alexakis has the biggest success of resulting in a soulful vibe of consum- final mixes on his first solo album and his recording career and a good shot at mate musicianship and spiritual com- decided it just wasn’t happening. a double barreled platinum blow out munion.” Having to admit to Capitol that the when Vol Two, “Good Time For A Bad Jeff Trott, co-writer of many of the music just wasn’t there. Then, having Attitude”, comes out in time for songs on Sheryl Crow’s Grammy to convince them that instead of a solo Christmas. award-winning albums, is also a con- lp and an band album, he’d be releasing Driving the sale of Vol One is the tributor and occasional Lodestar guest. two Everclear records within months. crossover success of the first single A questionable “Wonderful”. Already a hit on the career move, at best. Modern Rock, Adult Top 40 and It had to be diffi- Mainstream Rock charts, “Wonderful” cult for Art to tell the is # 17 with a bullet (9/2) on BB’s Hot solo project musi- 100 Airplay listings, a survey of 856 sta- cians they wouldn’t tions monitored 24 hours a day. be on a major label And the best cut is just coming out release after all. Then now... there was the matter “AM Radio”, generally considered of the money and by the national reviewers as the stand- time it would cost to out track on “Songs From An re-record the whole American Movie”, has just been album. released to radio. Reviewed in BB as the There must have “Spotlight” release (9/2) reviewer been a few dark Chuck Taylor observes, “Programmers moments for Art and listeners alike will dig this like a while he engineered dog searching for a bone.” the turnaround. “The well trod theme of the power Dues paid that now of music radio gets the royal treatment must make the suc- in this super track from Everclear. ‘AM cess of “Songs From Radio’ takes us on a trip through lead An American Movie vocalist/lyricist Art Alexakis’ life in the Vol One” all that 70’s. We’re then led through the decade much sweeter. as times and our narrator change-but But judgement the music keeps spirits high with that under pressure is trusty radio in hand. Musically, the Duane Jarvis Photo: Salvey song’s structure loosely bounces off a

16 – TWO LOUIES, September 2000 BY BUCK MUNGER cool sample of Jean Knight’s highly and drinking, talking to people. Raleigh, North Carolina the 30th, recognizable ‘Mr. Big Stuff’, a #1 R&B Encouraging everybody to talk to the Baltimore, Maryland-October 1st, hit in 1971. On the instrumental front, people around them and maybe find Washington D.C. the 2nd, the Irving ‘AM Radio’ is a bag of tricks, with the somebody to go home and sleep with.” Plaza in New York City-October 3rd, expected guitar and percussive ele- Jill says, “The group’s onstage The Met Café in Providence, Rhode ments flowing joyously along with craziness is also an intrinsic part of Island-October 6th, St Andrews Hall in great layers of vocal harmonies, playful their music.” In “Modern Age” Detroit-October 12th and the Newport shout-outs, and a particularly campy Courtney says he was inspired to write Music Hall in Columbus, Ohio- spoken word throwdown in the middle the single “Bohemian Like You” when October 13th. of the song about 70’s TV shows, com- “this chick drove by my house one day plete with canned laughter behind it. in the summer with her windows down d This is a wildly clever effort, certain to and her old beat-up early 70’s BMW, extend the rock band’s stance on all maybe late 60s. (She had) bleached Austin-Portland locals Reckless sides of radio.” hair, grown out and piled up on top, a Kelly are riding atop Billboard’s wife-beater, and tattoos. I just stared at Broadband Talent Net charts. d her, and went, ‘Oh my God. Oh, my Reckless Kelly are listed as the #3 God.’ And then, boomp, she was gone. Most Popular New Talent on the Top Three weeks after the Dandy It was a condensed and filtered version 10 Favorite Artists chart (9/2) after 11 Warhols sophomore effort for Capitol, of your basic life experience of some- weeks on that listing. “Thirteen Tales From Urban one in our scene.” BB’s new talent web site also lists Bohemia”, dropped off Billboard’s Top The Dandy’s scene goes on the Reckless Kelly’s track, “Back Around” 200 chart, the single “Bohemian Like road September 29th, opening at the You” was still showing signs of strength Exit Inn in Nashville. They play continued on page 28 on the Modern Rock Tracks chart. The first track from “Tales” gained a bullet at #28 (9/2) and a feature in BB’s covet- ed “Modern Age” column written by Jill Pesselnick Jill covered the Dandys live at the El Ray Theatre in Los Angeles, where she says the band “played their kind of show.” Dandy frontman Courtney Taylor described the El Lay show at the El Ray. “You’ve got the Fire Marshal there, CNN, and hundreds of people having a party/riot and hula-hooping in the streets. Meanwhile, we play for two, two and a half hours inside. The crowd is going ape-shit. They’re bring- ing up drinks onstage. We’re smoking Systemwide Photo: Pat Snyder

17 – TWO LOUIES, September 2000 her mom.” Fierce words there. pæans to our lord. Here, the focus is more mature. But the band’s attempt to wrest a “Smooth,” Peterson, who is perhaps best known (in the more Santana-like Latin feel from “The Night I Met mature corners of the Portland music scene) as the Maria” fails to get off the ground. Over snappy owner of the club Sweet Revenge, a one-time haven acoustic guitars and a cha-cha beat Dickson tells a for Folkie singer/songwriter types in the late ‘70s. continued from page 11 somewhat surreal and perhaps symbolic tale. Somewhere along the way since those long Vocalist Sean Dickson plays bass, keys and “Smoke filled the air, the lights all dim/Knew I’d departed days, Alan must’ve seen the light. For here guitars, while Shane Wolfe provides the drums, entered sensual freedom/My eyes they took a we are blessed with a baker’s dozen, plus one, of percussion and background vocals. Together they glance/Across the ballroom she stood in ele- impeccably recorded traditional white gospel- manage to create a full band sound. It’s an eclecti- gance/And owe those eyes take me over so easi- influenced songs, all penned by singer/songwriter Peterson. Unlike most local albums produced in “The Orange Collection are a pair of enterprising this genre, the recording and performance values are first-rate. The songs, for what they are, are fair- young lads who demonstrate a propensity for a Pop ly well-written. song. While they don’t hit homeruns with every Nearly all the songs refer to love and feelings, light and life. Lyrically they tend to be so ubiqui- swing, they connect with enough frequency to hit for tous as to be interchangeable. The song titles a relatively high average.” alone are a one-trick pony: “Do You Feel The Love,” “It’s A Wonderful Life,” “Hold On To The cally ingenuous sound, as if Boy George and Prince ly/My hear cries do you see her, bonita/This is the Feeling,” Precious Love,” “That Certain Kind Of took turns fronting the Three O’Clock. Dickson’s night that I met Maria.” Light, “That’s The Way The Life Goes” and so on. vocals alter between a boyish coo and a thick, ade- The Orange Collection show promise. But the Such innocuous adjectivism renders noidal, West Coast scouse. object for most songwriters, ideally, is to reach as Peterson’s material so idiosyncratically As a songwriter, Dickson understands the many listeners as possible. In order to do that it is euphemistic, that it makes no literal sense whatso- structure of a Pop song, delivering carefully crafted necessary for the writer to know about the subjects ever in the lay world. Hence, the songs are reposit- material. The subject matter ranges from odd upon which he sings. ed into a realm where the inhabitants are boy/girl and other interpersonal relationship num- In any religion or spiritual quest, it is good acquainted with such esoteric symbols. That’s bers: “Dancing Girl,”“The Night I Met Maria” and and right that a person should experience his emo- called a church. “Do You Still Dream,” and broader swathed testa- tions. The best song material is created when the The idea, it would seem, would be to attempt ments such as “Won’t Hurt My Soul” and “Keep It writer honestly confronts the impressions that arise to attract a wider audience. George Harrison did it Together.” from those emotions, rather than to attempt to with “My Sweet Lord.”He accomplished that by co- The latter is best served by “Won’t Hurt My cobble them into some sort of a parable or a ser- opting one of Phil Spector’s most brilliant produc- Soul,” over a solid bass/drums interchange, mon. tions— the Chiffons’ “He’s So Fine.” The Edwin Dickson sings. Last night I didn’t get no sleep/Is the An artist must sacrifice his Self in order to Hawkins Singers did it with “Oh Happy Day.”They man up above just nodding his head at me/And perceive this union (or battle) between the intellec- were a legitimate black gospel troupe. how do you think I could ever get any peace/When tual and emotional aspects of the soul. Once young As was stated in the Orange Collection this whole world’s just crashing down on me.” Sean Dickson endeavors to observe those emotion- review, it is incumbent upon Christian songwrit- The former is captured particularly well on al impressions rather than to intellectualize them, ers, if their intent is truly to venture product into “Dancing Girl,” a curiously cautionary tale. “I he will have become the artist he hopes to be. Once the secular world, to dig a little deeper within know this girl who loves to dance/She sells herself he learns to write about those impressions without their collective psyches to derive something that to fellows for romance.” Certainly, that’s delicately judgments or preconceptions. At that moment he rings true among the common plebeian, not just put. Over a chunky guitar figure and a creaky organ will have found his true muse. those who choose to go along with a specific filigree, Dickson further delineates. “She’s so con- belief system. Otherwise, one is merely preaching fused in her own world/Always wondered what it World In Love – Alan Peterson; Self-Produced to the choir. With the level of talent among the would be like to be a girl/But she never had the September must be Christian music month at musicians involved with this project, that would chance to go to a prom/Or have her best friend be Two Louies, for here we have another round of be a real shame.

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18 – TWO LOUIES, September 2000 An Unreel World Bill Scream Music Lake Oswego 422 SW 13th (503)639-9364 Portland, OR 97205 Email: [email protected] (503)284-5737 Owner: Karin Kopp Email:[email protected] Engineers: Manny Keller or bring your own Owner: Bill Scream Tracks: 24 +digital Engineers/Producers: Rick Waritz, Leslie Rates: $24/hr Carter STUDIO/MASTERING Equipment: Yamaha midi automated con- Tracks: 24 & 16 track plus Sound Tools sole with moving faders and recall, Digital 2 track Masterworks 64 bit Multiband Rates: $75/hr. Compressor,Limiter, CD Recorder with Equipment: Studio A — Studiomaster Jam, Mackie CR1604 VLZ and CR1202VLZ Series II 40-channel MIDI automated con- Submixers , 2 Alesis Adats, Midi Machine sole; Tascam MS-16 multitrack; Otari controlled by a Power Macintosh 8600 with MX55 2 track; Yamaha Rev 7; Yamaha XPS- Digital Performer, MOTU 2408 PCI card, 90 (2); Roland DEP-5; Alesis Multiverb; 24 digital audio, unlimited Midi Tracks all Alesis Microverb; Symetrix 4 channel noise gate; Aphex exciter; DBX 166 stereo com- synced sample accurate with a Midi Time pressor; Yamaha NS-10 monitors. Studio B ruptible Power Supply Instruments: Korg Berger designed studio frequented by the Piece AV, Event 20/20bas Studio Monitors, — Soundcraft 6000 console (32x16x24); 01/Wfd, SampleCell Sampler, Alesis Northwest’s best talent. We offer recording, 2 Panasonic DAT’s, AKG, Audio Technica, Otari MTR 90 II multitrack; Panasonic Quadrasynth module, Alesis D4, E-mu engineering and mastering of music proj- Beyer Dynamic, Crown, EV and Shure SU3500 DAT; Lexicon PCM 70; Lexicon Proformance+, Korg DW-8000, Tama ects as well as audio for video. Fast becom- Microphones, Lexicon PCM 70, LXP-1 (2); Eventide H3000 ultraharmoniz- Artstar Drum set, Zildjian Cymbals, ing one of Portland’s premiere studios. Quadraverb2 and Yamaha on board er; Yamaha XPS 90; Lexicon PCM 60; Assorted Percussion Coffee Maker: Braun Clients: KBBT FM & Seal, Eagle Eye processors, DBX Compressors, Expanders, Roland SDE 1000 delay; JBL 7/10 compres- Flavor Select, 10 cup. Special Note: We are Cherry, Edwin McCain, My Friend Steve, Gates and Limiters, Tube Mike Preamp and sor; Aphex 612 2-channel noise gate; BBE a full service studio offering top quality at Nicole Campbell, Baseboard Heaters, Steve Tube Leveling Amp/Compressor, Guitar 822. Mastering gear —Digidesign Sound fair prices. Our facility includes a separate Hettum, Terry Robb, Wilco, Sheryl Crow, and Bass Preamps , Ensoniq ASR Sampler Tools digital hard disk recording system; drum room, studio and control room. We Jeff Trott, Mel Kubik, Steve Bradley, Brian with SCSI and large sound library, Yamaha Otari MX 55 2-track MIDI gear: Akai 5950 offer a comfortable, low stress atmosphere Cutler, Sheila Wilcoxson, Brenda Dickey, MU80, Korg Wavestation, Roland R70 and sampler (3); Roland D-550 synth (2); for songwriters, bands, and commercial Silkenseed, Tall Jazz, Microsoft, Fred V Drums Pro Set with TD10 Percussion Yamaha DK-7; Akai MPC-60. Other: Mini productions. We also produce and write Meyer, Adidas, Warner/Chappell music, Sound Module, DW Maple Drum Set, Moog, Vocoder (a real one) Clients: music Clients: The Willies, Sweet Baby Weiden & Kennedy, & many more. Yamaha Recording Custom Birch Drum Skinhorse, NIKE — Scored music and Onion, Trip21, Brothers of Baladi, Gypsy Set. sound design to “Bo Knows Bo,” a 45- Caravan, J. Michael Kearsey, Doug Fulton, DeFunk Audio/Sonare Mastering Clients: J Bird Koder, Renato Caranto, minute video for sale internationally, Bill Parsons, Guerrilla Motion Pictures, J.D. 4531 N. Albina Street Tracey Fordice, Roger Sause, Mark spring ’92 collections videos, Dec. sales Kiggins, Bill Wadhams, Planned Portland, Oregon 97217 Olmstead, Nico Wind, Karen Therese, City meeting audio to slide show productions; Marketing, Jason Baker, One Fish Two Fish, (503) 288-3353 of Newport, FOX49, Security Pacific, PGE, Nintendo/Lindsey West — Sudio produc- Albert Glenn and others. Email: [email protected] Vancouver Ford. tion for Las Vegas trade show; Nu Shooz Owner/Engineer: Sean Gilbert Notes: Great daylight atmosphere in beau- (Atlantic Records); Craig Carothers (“Little Ronn Chick Recording Call for current rates, equipment and avail- tiful wooded Rivergrove area, inhouse Hercules”). 1209 NW 86th Circle ability bassist and drummer available, call for Vancouver, Washington 98665 songwriter special rates. Blue Dog Recording (360) 571-0200 Doctor Digital; The Sync Ward Studios 1314 NW Irving Owner/Engineer: Ron Chick Portland, OR Anonymous Noise Portland, OR 97209 Call for current rates, equipment and avail- (503) 892-0043, 1-888-373-4485 (503)248-2136 (503) 295-2712 ability Email: [email protected] Owner: Karl Brummer Email:[email protected] Owner: Mark Frethem Engineers/Producers: Karl Brummer Web:www.bluedogrecording.com Dave’s Attic Productions Engineers/Producers: Mark Frethem Call for current rates, equipment and avail- Owner: Bruce Robertson Washington Square Area Tracks: 72+ (64 ProTools 24 Mix-Plus, 8 ADAT) ability. Engineer/Producers: Bruce Robertson, Portland, OR Keld Bangsberg (503) 768-9336 Rates: $25/hr to $75/hr - (Basic ADAT rates, ProTools non-sync, ProTools sync) Apache Recording Studios Tracks: 32 (24 ADAT, 8 Hard Disk) Owner: David Fleschner Equipment Consoles: Mackie 32x8, 4009 E. 18th St. Rates: $35/hr.; Block rates available Engineer: David Fleschner Samson 2242, Mackie 1604 VLZ (Linear): Vancouver, WA 98661 Equipment: Recording: Alesis X2 In line Call for current rates, equipment & avail- Recording Console (24 input, 64 input at ability ADAT, Fostex D-10 DAT w/timecode, Vancouver phone: (360) 694-5381 Fostex D-5 (5) Denon and Technics Portland office: (503) 293-9266 mix down, 8 aux. sends, full parametric Dead Aunt Thelma’s Studio Cassette decks. Video: Sony BVU-800 3/4", Rates: $35/hr to $75/hr an hour EQ, mute automation on all inputs & sends), 24 tracks of ADAT, Alesis BRC, Al-1 PO Box 82222 Philips S-VHS Computer Description: Apache Recording Studios Digital Interface, Pro Tools 3, Session 8 Portland, OR 97282-0222 Hardware/Software: PowerMac 9500 233 was conceived and designed by Jef “Woop” Macintosh, Audiomedia II/Sound Designer (503) 235-9693 Mhz w/G-3 -21” monitor, PowerMac Warner, former Geffen recording artist and II, Niche ACM Level Automation, Web: www.thelmas.com 8100/110, Quadra 950, 30 gig hard disk producer. Stressing an earthy environment Panasonic SV3200 DAT, Denon, Sony, Studio Manager: Mike Moore space, Jazz/Zip drives, Protools 4.3, Sound of cedar, redwood, tile and American Kenwood, Cassette Decks, Roland 24 input Office Manager: Nicole Campbell designer II, Masterlist CD, Adobe Premier, Indian art. The control room features a Submixer Effects: Digitech TSR-24 stereo Owners: OCP Publications Radius Videovision Studio, 586 133 Mhz classic Trident 70 console with Lexicon and multiFX, Roland SE-50 multiFX, Alesis Engineers: Mike Moore, Dean Baskerville, PC w/21” monitor, NTSC monitors Drawmer tube processing, 32-Track digital Midiverb 4, Mciroberb III, Korg DRV- Ryan Foster, Ronn Chick, Bob Stark Monitors: Tannoy, Infinity, Atlantic multitrack, computer editing and master- 1000, Digitech DDL, (3) dbx 266 stereo Tracks: 16/24 track analog, 24 tracks of Technologies & Auratone, DCM ing, with monitors from Uri, Tannoy, and Comp/Gate, Korg KEC-42 EQ/Cmp/Gate ADAT, 16 channel ProTools, and video Subwoofer Mics: AT 4033 (2), AT 4051 Alesis. An 1890’s Knabe 9ft. concert grand Mic/Monitor: (2) AKG C1000S, (2) AKG lock. (2),Neum. KM100 (2), AKG c408 (2), piano resides in the spacious live tracking D112, (3) AKG C-408, Audio-Technica Equipment: Trident 24x24x8 console; AT25, AT825 stereo mic, EV RE20, Senn. room. Equipment: 48 input custom Trident ATM-4033, Audio-Technica ATM-31, (3) Focusrite, API, Avalon, Millennia, 441, SM57 (2), SM81, SM58, many others 70 console, (4) Adat w/BRC, Lexicon 300, Shure SM-57, Tubehead Direct Box, RA- Cranesong and Manley mic pre’s; top of the available on request. Processors/effects: LXP15, PCM 70, Eventide H-3000, 16 track 100 Power Amp, AKG & Audio-Technica line selection of mics including Neumann, Protools IV/TDM: Waves TDM Bundle, digital audio workstation (SAW plus), Headphones, KRK 9000B Monitors AKG, and Telefunken; Cranesong, Manley, JVP, Dverb, DPP-1, DINR, Focusrite D2, Drawmer stereo tube compressor, Dbx, Hardware/Software: Macintosh Quadra Altec & Urei compressors, HEDD & D3. TC Megareverb, Digidesign delays, AKG, Micro-tech Geffel 92, etc. Recent 650, APS 1.7 Gigabyte Hard Drive, Apple Apogee AD/DA converters; Genelec, gates, compressors, & EQ’s. Outboard: ART Clients: Ten Pound Rain, C.R.O.W., Father CD-300 CD-ROM Drive, Digital Yamaha and Auratone monitors; Panasonic Pro MPA mic pre, Lexicon MPX 100, Mary, Ozone Park, and Warner Brothers Performer, Unisyn, Sound Designer II, SV-3700 DATs; Macintosh Power Tower Yamaha SPX 90II, Digitech 256XL, recording artists Rough Cutt, Lid, Rustvein, Jupiter Systems MDT & Infinity, w/14 gig capacity; Steinway B Grand Piano; Midiverb II, LA-22 dual channel compres- Rexsoul, Hokus Pokus, Jen Triano, John Hollywood Edge Premiere Edition SFX complete list available on request. sor/limiter, ART MDM-8L MIDI: Peavey Thayer, Hot Buttered Nun. Library, Midi Time Piece II APC Un-inter- Notes: Thelma’s is a nationally acclaimed, continued on next page

19 – TWO LOUIES, September 2000 Chamber Music Northwest, Jim Pantazi, blocks. •Mobile at venue - $500 a day. Blue Honey, Haymaker, Dale Van Wormer, Travel fee applied to locations more than Jerry Joseph, Nobody, Henry Moon, Boka 25 miles from downtown Portland. Marimba, Beater, 16 Volt, Hellbent, Gutter Equipment: CONSOLES - Soundcraft Jacket, Atom Sane, Ardey Allotey, Roger Ghost - 24x24x8x2 in line design - 56 input Sause, Vail Johnson, Toni Land, Andy at mix (24 channel A, 24 channel B, 4 stereo Harrison, Richard Moore, Bob Shumaker, FX returns) - On Board CPU - featuring; STUDIO/MASTERING Wes Burden, Paul Owens, Karl Mansfield, MIDI MACHINE CONTROL supporting Steve Smith, John Smith, Dave Carter, most devices using MIDI, Sony 9 pin, and Dana Ray Denton, Geffen Records, P2 9 pin D type RS422 connections. TIME- Inphase, Inc., KPDX Fox 49, Oregon Ballet CODE READER/GENERATOR - LTC and Theatre, WhiteHorse Studios, World Media MTC. MUTE GROUPS. MUTE SNAP- T.V., Encounter Video, Inc., SHOTS - manual recall, automatic recall to Nike, Agency.com, Façade Productions and timecode, recall via MIDI program many others. changes. DYNAMIC MUTE AUTOMA- TION - via external sequencer. MIDI Don Ross Productions CONTROL FADERS. - 4 band eq , 3097 Floral Hill Drive low/high shelf, 2 full parametric bands continued from previous page and engineering talent are provided cover- Eugene, OR 97403 (low/shelf assignable to mix B) - 10 aux. C8-88-note weighted key controller, ing a wide range of audio applications from (541) 343-2692 Fax: (541) 683-1943 sends, 6 mono, 2 stereo, 3 / 4 and 5 / 6 Kurzweil K2500R, K2000S keyboard, EMU music recording, mixing and mastering to Email: [email protected] mono and 8 stereo assignable to mix B - Proteus 1, Yamaha TG33, Alesis D4, audio/visual and multimedia productions. Owner/Engineer: Don Ross top of the line Soundcraft Pro Mic pre Octapad & kick trigger, MIDI Timepiece All three Protools systems can sync to pic- Tracks: 24 track Digital, 16 track Analog amps - meter bridge Mackie 1604 and 1202 AV, (2) Studio 4’S, Studio Vision Pro ture for ADR, Foley, sound design and Rates: $45.00-$75.00 available Oz audio headphone mixer and (MAC), Cakewalk Pro (PC) Instruments sweetening with Dolby 4:2:4 surround Equipment: 24 track Tascam DA-8’s mods amp DECKS - Alesis ADAT’s (x3) with and Amplifiers: Fender HM Strat, Peavey encoding and 5.1 discrete. An elaborate by Audio Upgrades 8 w/RC 848, SY88 & BRC controller and Remote Meter Bridge T-40 bass, Alvarez Classical, Peavey Rock MIDI suite with weighted 88 note con- IF88AE, 16 track Tascam MS16 1", Tascam ADAT Edit PCI card optical interface to Master guitar pre-amp Miscellaneous: troller, the finest digital pianos, SFX and DA30 Fostex D-10 Time code DAT & computer Fostex D-5 DAT Marantz CDR Marantz PMD 321 CD Player w/Digital sample libraries offer a wide palette of Panasonic 3700 DAT 2 tracks, Revox PR-99 630 CD Recorder Tascam 103 cassette output, Onkyo Integra THX surround sounds to choose from. Located in the MkII, B77 2 track, 1/2 tracks, Digidesign COMPUTER - Custom built 400 MHz sound amplifier, Krups Espresso maker entire lower half of a secluded southwest Pro Tools digital hard disk recording/edit- Celeron with 128 Mb SDRAM - 100 MHz w/mobile I.V. & stand. Sound Effects Portland house, The Sync Ward is an ing system w/Mac IIFX, 6 Gig hard drive, front end bus - 6.4 GB Western Digital Library: Hollywood Edge Premier, The upscale, professional facility featuring two Wang Dat & Studio Vision Masterlist CD HDD - 40X CD ROM - 4X CDRW - Zip Edge, Cititrax, Cartoon Trax, and various isolated recording rooms with adjoining and Pinnacle RCD 1000. Tascam M-3700 Drive. Software includes: Windows NT and custom designed. Music library choices control room. It’s location provides a cre- 32x8 automated console, mods by Audio 95 - Cakewalk Pro Audio v.6.0 - ADAT Edit available. atively conducive environment with a Upgrades; Tannoy NFM-8, Yamaha NS-10, v.1.02 - Corel Draw v.5 - Page Maker v.6.5 - Notes: The Sync Ward is located in “down-home-in-the-woods” atmosphere. & Auratone 5C monitors; Aiwa, & Tascam Office Pro 97 - Hot Burn CD authoring Portland’s west hills just 1/2 mile off Patients: Bill Matson (film: “Different”), cassette decks; Lexicon PCM 80, LXP 1’s, software - CD Stomper labeling software. Beaverton-Hillsdale Highway and is a full Portland Center Stage (play: “As You Like LXP-5’s w/MRC & Yamaha SPX90’s MONITORS - Event 20/20 near fields with service production facility. The latest tools It”), Generator, Dan Reed Network, reverb/delays; Manley tube compressor, Hafler P - 3000 trans nova power amp Aphex 661 tube compressor, dbx 266’s, Alesis Monitor One near fields. SIGNAL Drawmer DL241, Aphex 106, Aphex 720 PROCESSING - ART Dual MP (x4) - TL WILL THE DEAL BE MUSIC TO YOUR EARS? Dominator II & Ashly SC-50 comp/lim- Audio Dual MP - TL Audio Quad Ivory iters; BSS DPR-504 & Aphex 105 Noise Series MP - ART Dual Levelar - Behringer We can help protect your rights and your artistic future. Gates; Aphex Aural Exciter, Symetrix Composer (x2) - Behringer AutoCom - Copyrights • Publishing • Contract SX201 parametric EQ’s, Gaines MP-2 mic Behringer MultiGate - Alesis 3630 - ADA pre’s. Mic’s: Neumann U87’s, KM84’s, MP1. EFFECTS PROCESSING - Lexicon Negotiation • Disputes mods by Laus Heyne, AKG 460’s, 451’s, LXP - 1 and 5 with MRC controller - Alesis Sennheiser MD 421, EV RE20, 408B’s, QuadraVerb 2 - Digitech Studio Quad - Law Offices of Linda Friedman Ramirez Shure SM53’s, 57’s. Other Important Stuff: ADA Multi-effects - Alesis D-4 . MICRO- 1927 Steinway M grand piano, Kurzweil PHONES - Audio Technica 4050 - Audio PC88 MX, Ensoniq, EPS w/44meg, Syquest Technica 4033 (x2) - Electro Voice RE-27 & 300 meg of samples, Opcode Studio 3, JL nd - AKG CS-1000 S - Tascam PE-125 - www.musicbizlaw.com Cooper PPS-100 dk10 KAT, Alesis D4, pre Shure SM 57 (x8) - Shure SM 58 (x3) - CBS Fender Super & Twin reverb, Zoom Electro Voice 257 nd (x3) AUDIO SNAKE - 9050 JVC CR-85OU 3/4" video deck Head box - custom built 40 XLR input, 3 w/SMPTE address trk., Sony video moni- split output using AMP mil-spec multi-pin 503-227-3717 tors 13" & 20", Fostex 4030/4035/4010 connectors, and Pro Co transformers on Member, Oregon State Bar since 1981 SMPTE sync system, Sony SLV-575, SLV- splits 2 and 3. Separate ground lifts on all 3 585 1/2’ VHS, Symetrix TI-101 phone legs Trunk - 100 ft Horizon cable with batch, Telos Zepher for digital land patch & AMP mil-spec multi-pin connectors. a Braun10 cup coffee maker. Clients: PATCH BAYS - All _ TRS Balanced. Mason Williams, Strangers, Multiple Connections for in and out’s on all tape Sarcasm, Betmars, Babies with Axes, Valley decks, console, effect and dynamic proces- Boys, Terry Robb, Austin, Stephen Cohen, sors, including side chains on dynamic Chico Schwall, Katie Henry, T.R. Kelley, processors, and console sub-groups paths Debbie Diedrich, Boogie Patrol Express, are integrated. The audio snake also con- Mike & Carleen McCornack, Jim Scott, nects to another patch bay for easy micro- (formerly with the Paul Winter Consort), phone to pre-amp routing during tracking. Cousin Larry, Dylan Storm and Tracy This connection is normalled to the con- Bonham. sole so that the source can also go to out- board pre-amps at the same time as the Echo Star Studio console. Address : Portland Or. AC STUFF - Furman AR 1215 Line Voltage Phone : (503) 997-5665 Regulator ETA PD8L Power Conditioner E-mail: [email protected] ACME 220 volt AC Transformer 100 ft 10 Website: www.echostarstudio.com gauge AC wire All AC in the studio is Owners : Marcus Sheppard, Edward Rei ground lifted by the transformer. Clients : Engineers/Producers : Edward Rei The Heavy Brothers, Mirror Mirror, Sky Tracks : 24 track digital Blue Mind, Love Lode, Emerge, Brain Rates : •In-House as low as $200 a day for Dead, Soul Fest ’97.

20 – TWO LOUIES, September 2000 tubes (2) Klaus Hynes modified, Neuman Falcon Recording Studios U-87 (2), Neuman U-67 Klaus Hynes mod- 15A S.E. 15th ified, Neuman KM 84 (2) Klaus Hynes Portland, OR 97223 modified, AKG 414 (5) Klaus Hynes modi- (503) 236-3856 fied (1 modified), AKG C460, AKG D112, Fax: (503) 236-0266 Shure SM 91, Sennheiser 421 (4), Beyer Email: [email protected] M201 (3), Shure SM-57’s (5) Clients: Contact: Dennis Carter for booking infor- Rubberneck, Calobo, Five Fingers of Funk, STUDIO/MASTERING mation. Higher Ground, David Andrews, Pete Rates: Studio A: 24 Track analog/digital: Miser, Rhythm Jones, Tree Frogs, Curtis $60.00 per hr., 16 Track digital: $50.00 per Salgado, Hummingfish, Lifesavas, Dan hr., 2 Track DAT: $45.00 per hr., Set-up: Balmer Trio, Linda Hornbuckle, Dennis $30.00 per hr., Copy & Edit: $35.00 per hr. Springer, Dan Faehley, Tom Grant, Richard Studio B: 16 Track digital: $35.00 per hr., Arnold, Obo Addy, Calvin Walker, Rob Pro Tools: $75.00, Digital Workstation: Daiker Project, Mary Kadderly, Wreck $45.00 per hr., Set-up: $20.00 per hr., Creation, Bombay, The Delinquents, See Mastering: $50.00 per hr., CD Master: Jane Run, Bloomrailer FINN. $75.00, Additional CD’s: $45.00 each. Block rates available for Studio A. A complete FREQ. MASTERING 266 Dual Compresor/Gate,DBX, 160x, Vivian's Keeper, LaRai, Money&Lovin, staff of musicians for writing, arranging 1624 SW. ALDER #311 DBX 163x Compressor, Dbx163 Sentient, John Myers, Lodown, Peter and production is available upon request. PDX, OR. 97205 Compressor, Biamp Quad Limiter/Gate, Dammon, John Hoffman, Pudding River Production, writing and arranging costs (503) 222.9444 DBX 463x Gate, Yamaha 31-band EQ, Bluegrass Band, Steve Rudeen, Stirling will be billed separately. Rates vary depend- Web: www.freqmastering.com Biamp Dual 10-band EQ, Rockman Guitar Wolf, Al Pasque, Marc Hansen, Les Ouvier ing upon project. Studio A redesigned and Portland’s Pro Mastering Studio preamp, Rockman Stereo Delay/Chorus, du Christ, Grafton Street, Enuf, Chutzpa, tuned by Dr. Richie Moore— Sony MXP- Contact: Ryan Foster Roland SRV Reverb, Roland SDE 1000 Dead Roses, Dana Libonoti, John Lansing, 3036 36x24 automated recording console; Equipment: Sadie Artemis 24/96 Mastering Delay, Art SGE Mach 2 Effects Processor, Truculence, James Kinney, Christine MS 3000 computer automation system for System, DCS904 24 bit A/D & DCS954 Alesis Midi Verb, BBE 802 Exciter,JBL 4311 Young, John Gilmore, and Stuart Wyan Sony console, Sony/MCI JH 24 24 track 24bit D/A both 192KHZ & DSD capable, Monitors, Auratone Monitors, KLH Trio. 2"tape machine; MCI JH 110 2 track 1/4" Apogee1000 A/D & D/A, Cranesong Hedd Monitors, Panasonic 3700 Mastering tape machine; Apogee AD 1000 A/D con- 24 bit A/D &D/A , GML 9500 5 band Machine, Otari Analog 1/2 Track Mastering Gung Ho Studios verter, Tascam DA-88 (3) 24 tracks digital Mastering EQ, Weiss EQ1 MK2 digital 7 machine; wide selection of mics: (AKG, 86821 McMorott Lane recording, Fostex D-10 DAT Recorder, band parametric, Manley Vari-mu stereo RODE, SENHEISER, E.V., SHURE, BYER, Eugene, Oregon 97402 Macintoch Quadra 605, Meyers HD- compressor, Weiss DS1 digital split band AUDIO TECHNICA) MIDI EQUIP- (541) 484-9352 1monitor speakers/KRK monitors, UREI dynamics processor, Maselec stereo com- MENT: Mac G-4 w/CUBASE 4.0 Atari Owner: Bill Barnett 813C time aligned speakers. Processing: pressor, Genelec monitors, Mike Spitz ATR 1040 ST, Proteus 1 Sound Module, Yamaha Engineer: Bill Barnett Neve 33609 stereo compressor/limiter, 100 1/2" Mastering deck, Tascam DA 45R TG100 Sound Module, Alesis HR-16 Drum Tracks: 24 analog 2” mix down automation Crane Song stereo limiter, Summit EQP- 24 bit Dat Machine, Panasonic 3800 Dat Machine, ESQ-1 Keyboard, Casio Midi Equipment: Westar console- 36 channel, 72 200 EQ’s, Neve 1272 class A mic pre amps machine, Dennon cd player, Dennon cas- Guitar input, 24 buss. Genelec monitors, Otari 2” (6), Neve 3405 mic pres (2), API 512 b mic sette decks, Mytek digital Mastering meter, Clients: Greg Baker, Sid Brown, Bobby 24 track recorder, Adats available Otari pre amps (2), API 550b EQ’s (2), API 312 Z-Systems 16 i/o digital router. Daltry, Jodie York, Paul Bermen, Ralph Archenhold, Julie McClusky, GJ Rose, continued on next page mic preamps (4), Focusrite Quad mic pre- Clients: Sony, Loosegrove, Sub Pop, amps (4 channels), Lexicon 300 digital Astralwerks, FT Records, Resistor, reverb,AMS RMX-16 Reverb, Eventide Shortwave Records, Estrus, Elemental, T/K Red Carpet Recording H3000, Lexicon PCM70 digital effects Records, Top Secret, Darla, Rain Records, processor (2), Yamaha Rev 7 digital reverb Burnside Records, Jus’ Family Records, 503.848.5824 (2), Lexicon PCM42 digital delay, Drawmer Bombay Records, M.A.H. Records, Empty DS 201 dual channel noise gates (4), Records, Dohnut Records, Rainforest New! JBL/URIE 7110 compressor-limiters (2), Records, Cool Nutz, Satan’s Pilgrims, Jesus UREI 1176 LN peak limiters (2), DBX Presley, Silkenseed, Chata Addy, Gino New! 160X compressor/limiters (2), DBX 160 Vanelli, Land of the Blind, Ken De Rouchie compressor/limiters (2), Urie LA 22 com- Band, Hungry Mob, Life Savas, Live at New! pressor/limiters (2), Teletronics LA-2A, LA- Laurelthirst, Izaya, Heavy Johnson Trio, New! 4 compressor/limiter (2) Studio B — Daylights, Hummingfish, Kerosene Dream, Ramsa WR-T820B recording console; Loveload, Jollymon, Gus Van Sant, New! Tascam DA-88 (2) 16 tracks digital record- Systemwide, Grindstone,Floater, ing, Pro Tools POI 8 ch./888 I/O, Mac 7600 Countrypolitans, Here Comes Everybody, New! Aloha Location w/many Advantages! • MORE w/20" monitor, Yamaha CD Recorder, Mel, E-40, Sally Harmon, Rattling racks of tube gear • Silver soldered Patch Bays • Tube Panasonic SRV-3500 Professional DAT, Thunder, Dickel Bros, D.B.A., Ras Kass, Driven JBL/Alnico Mains + Near Feilds • Vintage Amps • Yamaha NS10 A/KRK monitors, Roland Kurrupt, B-Legit and many, many, more. Hammond Leslie &’ Grand • Massive Analog • Computer SRV-2000 effects processor, Behringer ( Please check out our website for a more Editing • CD Burning • RCT 4x8 Tube Plate Reverb Composer (stereo limiter), Behringer Multi complete list ). Comp (4 limiters), Behringer Auto Quad (4 gates), Behringer Edison (3D Imager), Fresh Tracks Studio Lexicon LXP 5, Lexicon LXP 1, Macintosh Southeast Portland Nettleingham Audio Quadra 700 (24 meg ram, 1 gig internal (503) 235-7402 hard drive) 1 gig external hard drive, Email: [email protected] MASTERING & REPLICATION Audiomedia II card (Sound Designer II/ Web: http://www.freshtracksstudio.com Session), Apogee AD 500 converters, Owners: Jon Lindahl Opcode Studio 3 (2). Software: Engineers: Jon Lindahl and Matt Fredricks Performer5.5, Vision 1.01, Pro Tools / Tracks: 32, 24, 16, & 8 ( 24 traks hard disk) www.nettleinghamaudio.com Soundesigner, Master List CD, extensive 16 tracks of digital & 16 tracks of analog) sound library for S-1100, D-50, D-110, Rates: $40 for 32 track, $35 for 24 track, Purveyors of DX7, TX, MS 3000 automation 1.4, Galaxy. $30 for 16 track, & $25 for 8 track. Available Instruments: Yamaha 6’6" concert Equipment: 2 each XT Alesis ADATS, Fine Compact Disc Mastering grand piano, Yamaha Recording Series Analog 1" MS-16, Hard Disc, Cubase and Manufacturing Drums (9 pieces), Gretcsh 5 piece drum w/Mark of the Unicorn 2408 (Multi Track set, Akai S-1100 (mass Micro 45 mg car- recorder/automation/remastering), All tridge hard drive), Korg M1-R, Korg 01-W synced via JL Cooper Syncronizer, 888.261.5086 • 360.696.5999 fd, Korg 01-W, Roland D-110, Roland D-50 Pansonic CD Burner, 24x8x2 Soundcraft Roland Octapad, Ampeg B-15 tube bass Mixing Console, Tascam 80-8 1/2 "(analog) 100 CDs / $295 500 CDs / $1,000 1,000 CDs / $1,330 amplifier. Microphones: Neuman U-47 , ART MPA dual tube mic pre-amp,DBX

21 – TWO LOUIES, September 2000 of API 550A EQ’s, Neve split Mic Pre/EQ, tuner, Yamaha Rev 7 digital reverb, Alesis V/T Tube DI. Amplifiers; Ampeg Portaflex Midiverb II (2), Alesis Microverb II (2), B-15 bass amp, Vox Royal Guardsman, Ibanez AD 202 analog delay, Digitech TSR Vintage Supro Guitar amp. 24S dual channel digital processor, Monitors; Yamaha NS-10 Studio. Clients: AudioArts 4100 Parametric EQ (2), Sytek Wilco, Skiploader, 30.06, Eric Mathews, MPX-4A 4 channel class A mic preamp, Pond, Adam Wade, Scribble, Slackjaw, Rolls RP 220 tube mic preamp, PAIA tube STUDIO/MASTERING Suplex, Pedro Luz, Autumn Planes, mic preamp, SansAmp Bass Driver DI, Pushover, Kayo, Mel, Petal, Intifada, DBX “Boom Box” subharmonic synthesiz- Flophouse Palace, Loligo, The Reports, The er, Sony MDR 7506 headphones (5), AKG Zero State, The Kremlin Bronx, Dwell. K 240 headphones, Cable Upright Piano, Hammond Organ with broken keys, Leslie Jackpot! Recording Studio 900 speaker/amp combo. 1925 S.E. Morrison Microphones: Manley Cardiod Reference Portland, Oregon 97214 Tube Mic, Earthworks 30K omnidirection- (503) 239-5389 al condensers (matched pair), Langevin CR Email: [email protected] 3A (2), Crown CM-700, AKG D112, Web: http://www.teleport.com/~fboa Electro Voice RE 20, Audio Technica Pro continued from previous page Tracks: 8/16/24 tracks, Analog or Digital Owner: Larry Crane 37R (3), Shure SM 57 (7), Shure SM 58, Analog 2 track with Dolby S/R. 2 Panasonic Services: Live & Remote Recording, Free- Engineers/Producers: Joanna Bolme, Larry Ajudio Technica Pro 25, Astatic JT-30 crys- 3700 DAT recorders, Neuman, AKG, Lance, Engineering and Producing, In- Crane, Brendan Hoffman tal Mic. Sennheiser microphones available. Lexicon house Studio Recording, CD Mastering Tracks: 16 on 2” tape Clients: Elliott Smith, Pavement, Quasi, 480 L Evintide 8300. Vintage tube pre-amp Specialties: Remote Recording & Rates: $240 per day (8 hrs) or $35.00 per No.2, Pinehurst Kids, Varnaline, Richmond Limiters and Eq’s. Carver compact disc Producing hour Fontaine, Satan’s Pilgrims, Tra La La, The recorder (Model #PDR-10). Clients: The Rates: Live & Remote recordings: individ- Equipment: MCI JH16 16 track 2" recorder Chimps, Blackjack, Chris Eckman, (Cherry Poppin’) Daddies, Laura Kemp, ual quotes; 8-track recording special: (circa 1973), Allen and Heath 40 input, 16 Fernando, Pete Krebs, Birddog, Fuckpriest $16/hr; 24-track recording: $25/hr and up buss, 16 monitor mixing console, Fantastic, Miranda July, Jr. High, The Virginia Cohen, Billy Jack, Etouffee, depending on studio. Freelance engineer- Panasonic SV 3800 DAT recorder, Spinsters, The Dickel Brothers, Zoogz Rift, Portland’s “In June” The Bluebinos, Love ing $20/hr + studio costs. Panasonic SV 3700 DAT recorder, Flying Snowmen, etc. Death & Agriculture, Mark Allan, Caliente, Equipment: Compressors; GML 8900 Calf analog to digital converter, Marantz Special Notes: We specialize in “alterna- Polka Gem, American Girls, Stevie Z, Black stereo peak limiter, Urei 1176 compres- CDR 630 CD recorder, Denon DRW 580 tive/indie” rock type stuff if that’s what you Stone Jazz Quartet, and Marigold. sor/limiter, (2) DBX 160x compressor/lim- cassette deck, Accurate Sound Corp. 2 track want to call it. iters. Microphones; Neumann U48 tube or mono 1/4” deck, Tannoy PBM 8 moni- Haywire Recording mic, (2) AKG 414 ULS, (2) AKG 460, AKG tors, YamahaNS 10m monitors, Manley J.A.S. Recording Southeast Portland D112, (4) Shure SM 57, (4) Sennheiser 421, “limiter/compressor”, RNC 1773 “Really P.O. Box 884 P.O. Box 66381 PDX OR 97290 (2) Beyer M260 Ribbon. Tape Machines; Nice Compressor” by FMR (3),k LA Audio Beaverton, OR 97075 503-775-7795 Panasonic SV3700 DAT, Tascam 48-B 1/2" 4x4 compressor/gate, Behringer MDX 2100 (503) 274-2833 Email: [email protected] 8 Track Recorder, Tascam 122MKII cassette “Composer” dual limiter/compressor/gate, Owner: Andy Strike Engineers: Robert Bartleson, George deck. Effects; Lexicon PCM 42, Yamaha Behringer XR 1400 4 channel Multigate, Engineer: Andy Strike Verongos SPX 900, Alesis Midiverb. Misc: 8 Channels Alesis Micro Limiter, Korg DTR-2 digital Tracks: 16 channel mixing direct to DAT

22 – TWO LOUIES, September 2000 Rates: $150 per day (8 hours). Over 8 hours Apple G4 450MHz running ProTools 5.0 prorated to daily rate. w/ DigiDesign 001 interface, Microboards Equipment: Soundtech ST162 16 x 2 x 1 CD burner mixer; Digitech DSP 128 plus digital effects The Outboard Stuff: TL Audio and ART processor; Tamaha GC 2020 stereo limiter; tube pre-amps, Drawmer and Aphex com- Symetrix CL-150 compressor/limiter. pression, FX by DigiTech, Lexicon and Microphones: AKG C535 condenser; Audio Alesis, ADAT XT 18-bit 8-track, Fostex D90 Technica ATM11 (2); Shure SM57/56 (6); 8-track, Sony DAT, Line 6 pad guitar box, STUDIO/MASTERING EV PL259 (2); and many others. AKG K240 Sansamp bass DI headphones. Mastering: Revox A100 1/2 The Mics: condenser and dynamic mics track 1/4 inch 15/7.5 ips; DA-7 Digital from AKG, Audio-Technica, Shure, Audix, Audio Recorder (DAT); Optonica RT-6605 and EV 3-head analog cassette; Nakamichi 2-head The Client List: Chata Addy, Kim Clark, analog cassette. Special note: We are a live, George Mitchell, Other Living Things, Blue on-location recording service. We record Honey, Peter Boch, Anomolous Quintet, directly to digital to produce natural and Erik Matthews, Reload accurate-sounding recordings. We record live performances or in your home. Nettleingham Audio KAOS Recording, Mastering & CDR 360-696-5999 / 888-261-5086 Mark Kaeder refrence monitors. Synthesis: Roland XP-80 Duplication Vancouver, WA Tracks:40 (32 harddisk,8 adat) MIDI workstation , Ensoniq ASR-X sam- Portland, OR (just minutes from downtown PDX) Equipment: Recording: Alesis X2 peler ,Alesis D-4 MIDI drums, Roland GI- (503) 287-5066 Email: [email protected] Recording console (24x8 ,64 sources at 10 guitar MIDI interface, Fender Strat with Owner: John Belluzzi Web: http://www.nettleinghamaudio.com mixdown full parametric eq on all chan- MIDI pickups. Condenser Engineer: John Belluzzi Services: CD Mastering, CD Replication & nels), Creamw@re Tdat-16 hard drive mics:Soundeluxe U-95 multipattern tube Tracks: Tascam 1" 16 track short runs, graphic design, digital editing, recorder with Firewalkers DSP and Osirus mic , Rode NT-2 , Rode NT-1, Audio Rates: $30/hour. etc... audio restoration software (running on a Technica ,ATM35, AT-851a, AT-4041(2) Equipment: Tascam MS-16/16 track ana- Specialties: CD Mastering/Short-Run CDs P2 266 with 128 megs of ram and 32 gigs of Cardiod Dynamics: E.V. ND-868, ND-367 , log; Mackie 24-8 Mixer; Pro Tools with Engineer: Kevin Nettleingham storage) , NEW Creamw@re Pulsar 96/24 Peavey PVM22 (2), Cad 22 Audio Media III; Native Power Pack; Power Tracks: 64 Track Digital Hard Disk DSP, Synthesis, Mixing platform (running (2).Misc:Yamaha CDR400t 4X CD writer. MAC 9600; Yamaha CDR Burner; Rates: $50.00 per hour / 100 CDs - $325 on seperate P2 233 with 128 megs of ram AKG and SONY headphones, Samson Panasonic 3700 DAT; Mackie HR8-24 Equipment: Digital Audio Workstation; and 4 gigs of storage) with Cubase VST Headphone amp, Dennon 3head cassette monitors; 12 channels of tube preamps- Digidesign Pro Tools 24/Mix system MIDI sequencing and HDR software.(too deck, SWR Bass amp with Eden 4x10 cabi- ART Pro MPA; Pro VLA tube compressor; Software Version 5.0, Audio Hard Drives: many other audio programs to list) , Fostex net 4 Beringer Composers; APHEX 105 Quad 39 gigabytes, Computer: Macintosh Power RD-8 ADAT. Outboard: Lexicon MPX-1 Notes:No Moving Parts is a comfortable, Gate; Lexicon LXP1, MPX100; ART PC 9600/233 w/dual 20" monitors, RAM.: multieffects processer, ART Pro MPA tube low cost recording environment with a Quadra/fx; Digitech Studio 400; Rode 248 megabytes, AD/DA: Cranesong; HEDD mic pre, ART Pro VLA optical tube com- friendly and knowledgeable staff. Classic Tube Mic; 2 Rode NT2 Mics; AKG (Harmonically Enhanced DIgital Device) pressor, DBX 1066 stereo copressor/lim- Providing Exceptional sound quality with 414; 2 Shure M-88; 2 Synheiser 421; 4 EV 24 bit converter, Digidesign; 888/24 24 bit iter/gate, Real Tube RT-902 tube guitar pre. the kind of speed and flexability that only 408; D-112; CDR Duplication: DSR 8000; converter Analog Processing: GML 8200 Monitors: Genelec 1029A biamp monitor- Media Form CDP-CP2 Color CD Printer. Parametric Equalizer, Cranesong; STC-8 ing system w/sub , Event 20/20 bas active continued on next page Fender Stratocaster, Fender P-Bass, Ampeg Discreet Class A Compressor Limiter. Bass Gear, Line 6 Guitar Amp. Recent Mic Preamps: Cranesong; Flamingo Dual Recording and Mastering Projects: Channel Discreet Class A Mic Preamp, Cravedog Records, Bingo, Obidiahs, T. Digital Processing: Waves; Gold Bundle Biscuit, Fernando, Daylights, Thresher, Œ99, Pro FX Processors, C4 Multiband Witch Mountain, Herkemer, Earthforce, Compressor, TC Electronics; MegaVerb, Vibrasonics, Mr. Rosewater, Five Fingers of Steinberg; DeClicker, Line 6; AmpFarm, Funk, Creepy Old Trucks, Shamir, Gasoline Digidesign; DINR & other various effects, Kings, Repellant, Monkey to the Monster, Digital Routing: Z-Systems; 16x16 AES David Sullivan, Mike Toschi, Luther Digital Detangler Pro. Data Back-up: Russell, No Idea, Signified Monkey, The Exabyte; EXB-8700LT 8mm. CD Recorder: Kung Fus, 36 Crazyfist, Bangin’ Moon, Philips; CDD 2600 4x read, 2x Bomf, The Hessians, Disfunctional, All write.Monitors: Meyer Sound HD-1 High Out, Secludes, Di Esto, Monkey Fur, Short Definition Audio Monitors. Metering: Handed, The Blackouts, Das Gravy Boat, Metric Halo Labs; SpectraFoo, Waves PAZ Arterspace, Disasternauts, The Licks, Pscychoacoustic Analyzer 2 Track MoanieD, Baseboard Heaters, Finn, Witch Players/Recorders: Tascam DA-30 MKII Throttlegush, Pennfold, Captain Binge, DAT,Nakamichi MR-2 Cassette, Marantz Bastard Children of the Roman Empire, PMD-321 CD with AES and SPDIF out- Stagger, Iquanas, Merde, Antiworld, Plaid puts. Clients: Oregon Symphony • Pantry Project, Lady Speed, Wapeka, Jeff Thrillbilly • Mobius • Dead Red Head • Mel Johnson & The Telephones, Freak • Slackjaw • The Miss • The Webbers • Mountain Ramblers Swingline Cubs • The Cow Trippers • Plaid Pantry Project • The Jimmies • 5 O’Clock Lion’s Roehr Studio People • Shorthanded • Feller • Tinhorn • 5613 S.E. 69th Pedro Luz • Suplex • Kayo • Flying Heart Portland, OR 97206 Records • Lyle Ford • Engorged • (503) 771-8384 Shapeshifter • Gravelpit • Village Idiot • Email: [email protected] Daylights • Threscher • 44 Long • Lava de Owner: Mike Roehr Mure • 31 Knots • Pacific Wonderland • Thy The Staff: Mike Roehr, Owner/Operator Infernal • Pipe Dreams • Renato Caranto • and First Engineer The Bassoon Brothers • Rozz Rezabek- Jessica Odom, Computer Tech. and fire Wright • Johnny Limbo & a lot more! extinguisher Dapher (pronounced daf-fer), computing No Moving Parts kitty and chair terror S.E. Portland (near Laurelhurst) Tracks: 16 ADAT (503) 234-6410 The Big Stuff:, Soundcraft consoles, Web: www.nomovingparts.com Tannoy and Mackie monitors, Parasound Owners:Mark/Michele Kaeder ,Justin and EV amps, Paradigm subwoofer McCarthy The DAW (digital audio workstation): Engeneer/Producers:Justin McCarthy,

23 – TWO LOUIES, September 2000 dbx 463 de-esser; Yamaha SPX-90; Valley E-mail: [email protected] People Dynamite; US Audio Gatex; Burwen Owner: Kevin Hahn noise filter; Aphex 612 stereo gate; Engineer/Producers: Kevin Hahn, Vince Symetrix vocal processor (2); Wendel Jr. Tognetti, Chris Stevens, w/all cards; Sycologic trigger; dbx 463 gate; Tracks: 24 dbx 160 limiter; Sound Workshop Series 30 Rates: $40.00 per hour; block and project console w/Roland 12 line mixer; Tascam 8 rates available STUDIO/MASTERING line mixer, UREI 809, JBL 4311, Auratone Equipment: Yamaha O2R automated digi- monitors; Hafler 250; Crown D-75; Rane tal console, 24 tracks of 20 bit ADATS with HC-6; Sound Genesis Split headphones; BRC, Tascam DA-30 mkII, Tascam DA-20, Sound Tools digital editing w/ 1 gigabyte Marantz 615 CD recorder, Tascam 302 dual hard drive; 650 megabyte removable opti- cass., Teac PD-D860 cal cartridge; 45 meg mass micro remov- Microphones: Neumann U87 (2), AKG able; Adam-Smith Zeta Three syncronizer. 414, AT4050, AT4033, AT4051, AKG D112 MIDI: Emulator III (2) 8 meg machines; (2), Audix D1, D2, D3 (2), EV ND757a, Emulator I; E-Max II & I; Proteus I & II, Shure 57 (5) 58, and others. EMU SP1200; Alesis HR16; Drumulator; Processors: Focusrite Red 8 mic pre-amps, Oberheim DPX-1; Jupiter 6; Yamaha DX7; TLA PA-5001 quad tube pre-amps, ART continued from previous page Web: http://www.northstarsamples.com Yamaha DX7 & FB-01; Tama Techstar Pro MPA, Eventide H3000 SE, Lexicon hard drive recording can provide. Perfect Owners: Scott James Hybl, Curt drums; Jambox 4+; JL Cooper PPS-100 LXP-15, Yamaha SPX-90, O2R onboard for inexpensive, great sounding demos or Cassingham SMPTE. Other: Yamaha 6' grand piano; effects (2), Aphex Compellor, Symetrix for budgeting the kind of time it takes to Engineers/Producers: Dean Baskerville, Macintosh II w/ Sound Tools; Mac SE, 425, Aphex aural exciter, Aphex 107 pre- complete a fully produced final product, Rob Farley, Bob Barnes, Mike Conner SE/FD-HD & Plus; Roland MC-500 MK II, amps, Alesis M-EQ 230 Check out our website at www.nomoving- Tracks: 32, 24, 16 MC 500 & MSQ 700; Alchemy; Sound Monitors: Urei 809, Yamaha NS-10m,KRK, parts.com for more info. Rates: 32/24 track, $50/hr.; 16 track, $35/hr. Designer I & II; Master List; Soft Synth; Auratone. Clients: Dizzy pilots, Glorybox ,The or $60 tape rolling. Block rates — 32/24 Dinale; Drum File; Superstudio; Other: Cakewalk Pro Audio 8, Fender, Automatics , The Blue Ribbon Boys, track, $40/hr. on 50 prepaid hours. PageMaker; Microsoft Works; Overvue; etc. Gibson, Jackson and various other guitars, Heywood, Creepy Old Trucks, Lew Jones , Equipment: Otari MX-80 2" tape machine; Clients: Kingsmen, Dan Reed Network, Marshall, Crate tube combo, Ensoniq TS- Hsu String Quartet , Bucket of Rocks Tascam 85-16B; Tascam 85-16 1" machine; Margie Boule; Versus; Sceptre; U.S. 12, D4... ,Recording and editing for the independant Panasonic SV-3500 DAT; Technics SVMD1 Bancorp; Graphic Media; Vidamix; Leslie Clients: Shrapnel Records, Shortwave film Breach Of Etiquett , Commercial portable DAT; Ampex ATR 800 1/2 track; Carter; Romeo; Tenley Hollway; Ria; Records, Deen Castronova, 17 Reasons sountracking for Outdoor Animation and Otari MX 5050 1/2 track; Klark Teknik Maureen Love; Bartholomew; Todd Why, Silkenseed, Heavy Bros., Stephanie sound effects and background music for DN780 reverb; Lexicon PCM 70 & LXP-1; Michaels; Free Rain Records. Schneiderman, Sky Blue Mind, Dan Colorado Time Systems sports reader Roland SRV2000 (2); Alesis Midiverb II; Blaufus/Sandy Frye, Jive Talkin’ Robots, boards. MicMix XL305; A/O plate reverb; Eventide On Site Audio Jollymon, Paradigm Driven, Written in 949 harmonizer; Aphex Dominator II & A Diamond “Z” Records Company Ashes... Northstar Recording Aural Exciter; BBE sonic maximizer; 16016 Lower Boones Ferry Road, Suite 5 Pro-Arts Productions 13716 S.E. Ramona Lexicon prime time; Delta-Lab DL-5 Lake Oswego, Oregon 97035 1350 Chambers Street Portland, OR 97236 Harmoni-computer; UREI 1176LN lim- (503) 675-1670 Eugene, OR 97402 (503) 760-7777 Fax: (503) 760-4342 iters & 7110; Roland SDE 1000 & DEP-5; (503) 635-7335 Fax# (541) 345-9918 Email [email protected] Owner: Tony Proveaux Contact: Steve Landsberg Engineer: Tony Proveaux Services: Live on-site Audio recording Tracks: 16 16 track pro tools mastering, CD burning, Equipment: Alexis Adat digital recorders- (custom for you) 16 track, Mackie 8 buss mixing board, var- Rates: 2 hrs live – 4 mike set-up: $350.00 + ious amps, guitars, AKG mic’s. media Clients: Floater, KPants, Surf Trio, Longer recording available for not much Flapjacks, Oswald 5-0, Headhunter, more money!!! Surfonics, and others. Live: ? hours up to 16 mike set up available upon request. Pushy Jew Productions Equipment:Mixing Boards;Spirit®, N.E. Portland Mackie®. DAT: Sony TCD-7 (mobile), (503) 288-9279 Fostex D-5 Digital Mastering Recording. Email: [email protected] Outboard Gear: ART MPA Pro pre-amp, Owner/ Engineer: Ken Goldstein dbx 2231 band graphic equalizer/limiter Tracks: 8 tracks digital audio editing with type 3 noise reduction, dbx 1046 Rates: $15.00 per hour/projects negotiable Compressor/Limiter. Yamaha Compressor Equipment: Pro Tools & Studio Vision Pro, GC 2020, Samson Q-5 headphone amp. Hard-disk mastering to DAT, Tascam DA Alesis Quadraverb 2, Alesis Midiverb 2, 30 MK II, Unlimited MIDI tracks, SMPTE Furman Power Conditioner 1215 Radio Capable Clients: Lynn Haldeman, Jeff Otto, Shack 8 track player. Headphones: Sony Kevin Russell, Mary Sue Tobin, Tom MDR 7506. Mic’s: Audio Technica 4033, Anderson, Quixotic Music Productions, 4050, Audix OM 5, OM 6 D-2, Shure 57’s & Two Louies Radio Magazine, Samsonite & 52nd AVENUE 58’s. Sennheiser 635, others. Computer: Delight-Ya Apple Mac Power PC 7300, Pro Tools® 4.5 Gig hard drive, Glyph 9 Gig, Yahama 4x CD R Studio writer. Some of my clients: Some of the (503) 285-9168 clients on Diamond Z, or we produced or Owner: Gregg Whitehead Sports•Bar recorded or mastered: Calvin Walker, Les Engineers: Gregg Whitehead, Kristopher Wilson, The Tokens, The Soulsations, The Merkel 5201 NORTHEAST SANDY BLVD Falcon’s, Age of Agression, Grandma Viv Rates: $25.00/ per hour (lots of private releases), Various choir pro- Tracks: 16 tracks analog/ 16 tracks 503.288.0313 ductions, live shows, books on tape, live Digital/Full automation sound for video, instructional CD’s and Equipment: Tape Machines: Fostex E-16, lots of private label recording. 30ips olbyw/,D C Sony DTC-700 D, Sony LIVE MUSIC WEEKENDS tape deck with Dobly S, Computer: Opal Studio Pentium 90, 3 gigs memory scsi, 16 meg P.O. Box 86713 ram, Digial Audio Labs “digital only” card Portland, OR 97286 D, Crystal Lake Audio “Crystal Clear (503) 774-4310 Wavetable,” soundcard, “SAW PLUS” 16

24 – TWO LOUIES, September 2000 tracks Hard Disk recording and editing, Red Carpet Treatment Consoles: Yamaha ProMix 01, (digital Aloha, Oregon mixer with full automation; levels, mutes, (503) 848-5824 EQ, effects, compression, and total recall) Owners: Gavin & Wendy Pursinger Fostex 18 x 4 x 2 warm sounding mixer (3 Engineer: Gavin Pursinger band parimetric EQ per channel), Tracks: 16tk 2” 15/30 ips. 2tk 1/2” 15/30 ips Monitoring: Peavy-Phase Reference moni- Rates: $40/hr or 10 hr block for $300 (in tors, Yamaha NS-10, Auratone, AKG & advance + plus tape costs) STUDIO/MASTERING Sony headphones, EFX: EQ, Compression, Recorders: Scully 288-16 (2” 16tk), Ampex and Gates: Alesis, DBX, Moog AG440B (1/2” 2tk), Studer A700 (1/4” 2tk), (pari),Behringer, ECC, Mutron, Yamaha, Ampex 351-C (mono tube 1/4”), Deltalab, Microphones: CAD, AKG, EV, Panasonic SV 3700DAT, Digital Audio Labs Shure, Audix, Audio-Technica, SMPTE, Hard Disk Editor, Phillips CD Burner, and MIDI. Digital sequencing and editing Pioneer 3 head cassette (+4 converted). software Clients: Iddy Biddy, Tilting At Monitors: Large JBL Alnico Windmills, King Black Acid, Brothaz 15”/2”/Eliptical ring system in factory cab- Grimm, Soil, Allen Jackson, Psycho Drome, inets Biamped and TUBE driven. Near Trip 21, Blue Jean Rayburn, Monde la Bella, fields are JBL/Crown PA in playing room. Ray, Killing Field, Big House Headphones have separate mixes in each Tracks: 24 8/8 analog, 16 track digital parametric EQ; Scamp S01 compressor and playing room-Crown 300A & Phase 400 Rates: $40 to $100/hr. Call for block rates. S100 gate. Mastering — Panasonic SV-3700 Rainbow Recording powered. Equipment: Mixing — Amek Angela with DAT (3), Tascam DA-30 MkII DAT, Tascam 6614 S.W. Garden Home Rd. Console: Sunn SPL 3424 & 4424 well tied automation 28 x 24 w/6 aux sends (64 x 2 DA-60 Time Code DAT, Otari MTR-10 1/4" Portland, OR 97223 for 56 inputs mixdown), ProDisk III, Sony JH-24 2" 24- half-track recorder 30/15 ips; Fostex E-2 (503) 246-5576 Tube Equipment: “Thor” RCT Tube 4x8 track recorder 30/15 ips; UREI 1176LN x 2 1/4" 1/2 track stereo w/DBX I & CTTC; Email: [email protected] Stereo Plate Reverb, Presto 40B (regulated) peak limiters, DBX 160 x 2 limiters; EMT Technics RS-B905 3-head mastering cas- Owner: Galen Hegna mic pre, RCT stereo tube limiter (6L6GCs), stereo plat reverb 7' w/ solid-state amp; sette deck; Tascam 32 1/2 track; Scully 280 Producer: Galen Hegna KGW Line Amp, RCT stereo tube mic/line EMT mono plate reverb 7' w/tube amp; B-2 1/2 track (2); Technics 1500 1/4" and Engineer: Galen Hegna, Steve Martin pre (5879s&6L6GCs), RCT tube mic pre Lexicon PCM 70 x 2 digital effects unit; 1/2 track (3); Otari MX 5050 1/4" 1/2 8- Tracks: 16 / 24 (5879&6L6GC), RCT stereo differential Lexicon LXP-15, Lexicon LXP-1, Symetrix track, Tascam ATR60-T 2-track w/SMPTE, Rates: $35/hr. Block rates available (call for limiter (6SN7GTAs), 2 Bogen Tube mixers 501 limiter, Aphex Compellor II, Symetrix Tascam BR20-T 2-track w/SMPTE info). 5ch (EF86s), RCT stereo tube DI (12AT7x). 564 Quad Gate, Yamaha SPX 90 digital Microphones — Audio Technica AT 4050, Equipment: Harrison 36 channel mixing RCT TUBE GEAR HAS SEPARATE effects unit; Alesis Midiverb II; ADL AT 4033; Sony C-500 (2); Sony C-37P,Sony console, ADAT digital recorder, Fostex, POWER SUPPLIES AND DC HEATERS. expander/gates; Scamp rack; S100 gates, ECM 377, Neumann U67, U87, KM84i, Otari, Nakamichi, Aphex, digital editing Effects: RCT Tube Stereo Plate, AKG BX 10 S01 comp/limiters, de-essers, parametric KM86; Sanken CU31 (2); E-V RE15; Shure capabilities, Yamaha, dbx, BBE, DAT decks, Rev, Alesis & Lexicon revs, Behringer EQ, Yamaha NS-10 monitors, Auratone SM81 (2), SM57; Beyer PZM; Sennheiser Panasonic sync to video, synchronizers, Dualflex exiter, Orban Optic Compressor, monitors, Bi-amp TC-120 power amp; 421, ME20, ME80; RE15. MIDI: EMU E- MIDI controllers, sequencers, JBL, Behringer Composer, 2 Tapco +4 stereo DBX 150-X stereo noise reduction (6); Max digital sampler; Yamaha DX7; Roland Neumann, AKG, Sennheiser, EV, Shure, graphic EQs, Audio Logic Quad Gates Symetrix 522 comp/lim/gate/ducker U-20 multi-timbral keyboard; Yamaha upright grand piano, plus much much (VCA), 2 Scully 280 mic pres, Ampex 440C (stereo); Symetrix dual gate; Alesis continued on next page more. Call for details Clients: Paul mic/line pre, 5 Digital Delays, 12 ch patch- microverb and microverb II; SAE stereo Chasman, Carl Dees, 12 Gauge, Dennis able DBX 180 noise reduction. Moorehouse, Funnel, Don Leigh Blues Mics: AKG “The Tube”, 451 (2), D-12, Band, Dan Hegman and Don Bliss, Out of 330BT (4), Electrovoice RE20, RE 16 (2), www.twolouiesmagazine.com the Blue, Cherokee Jerry, Steve Axeford, DS 35 (2), 665, 1777A (2), RE 50, and Dixon Jane. Sennheiser 421, Shure 55S, 56 (2), 58, PE50SP.Helpinstill magnetic piano pickup. Recording Associates Instruments: grand piano, Hammond CV 5821 S.E. Powell Blvd. & Leslie, Fender Rhodes 88 stereo, Fender Portland, OR 97206 Telecaster bass, Gibson melody maker (503) 777-4621 (P90s), Yamaha acoustic 12 string, 65 Email: [email protected] Fender Pro & dual showman cabinet, Sunn Owners: Jay Webster, Chris Webster, Bob 2000s, Sunn 1200s, Sunn 100s, Ampex jet J- Stoutenburg 12. Engineers/Producers: Bob Stoutenburg Clients: Ray Charles, Chubby Checker, Al Tracks: 16/24 Rivers III & The Ink Spots, Ike Willis Band, Rates: 1/2” 16 Track, $30/hr, Block (over 10 War, Edwin Starr, Howard Roberts & Mel hours) $25/hr. 2” 16/24 Track, $50/hr. Brown, The Weevils w/Billy Hagen & Dave • Exclusive Advance Copy • Back Issues • Equipment: MCI JH416 24 x 24 console; Gill, Blake Wood, Kathleen Riley, James Ampex MM1100 24/16 track; Fostex B16 Robbins Band, Cross Country, Diamond • Free Band Links • On Line Guides • 1/2" 16 track; Otari 50/50 2 track; Yamaha Eye, Kevin Collins, The Bluesters, The NS-10 monitors; Teletronics, Symetrix, Rockfords, Robert Brown, Rob Ohearn, DBX compressors/limiters; Delta Lab, Miss Red Flowers, Plesure Seekers, Planet Roland, Alesis, Evantide, MXR delays; Mic- Quarantine, Kind & Loving Spiders, Mix aural exciter; Orban-Parasound de- Undercover Records, Cravedog, Fernando esser; Neumann, Sennheiser, Shure, E-V, (Luther Russel on keys), June & Joey, AKG microphones Other: Real-time and Vintage Flashback, Band of Andys, high-speed cassette duplicating services. Strawberry,Orange Collection, Lamurians, Video production and duplication Clients: In Cell, Sleepover, Producer Mike Mason, There Ya Go, Stain, Loco, Okie Drifters, Brownell Sound & Bluegrass on the Green, Twist of Fate, Flat Black Tomato, Tom Lisa Miller & the Trailer Park Honeys, and Foolery, Tracer, Steeplejack, Nucking Futs, many more. Elmer’s Restaurants, Oregon Historical Society, The Branders, Swing Line Cubs, Rex Recording Stumptown Jazz, Calloway & Lee, Darin 1931 S.E. Morrison Clendenin Trio, Last Rodeo Band, Ted Lee Portland, OR 97214 Orchestra, Marketing Concepts, National (503) 238-4525 Examination Center, Vacation Villages, Inn Web: www.rexpost.com at Spanish Head, Witch Throttle Gush & Owner: Sunny Day Productions, Inc. The Green Devils, Kevin Collins and the Engineers/Producers: Cal Katterman, Jeff Mojos. Fuller, Keld Bangsberg, Russ Gorsline, Greg Branson

25 – TWO LOUIES, September 2000 Groove tube (pre-Alesis), Rode, AKG, Adams-Smith Zeta Three’s. Digital Reverbs/ Beyer Dynamic, Roland V-Drums, Axon, Delays: Lexicon: 480L, 2-Lexicon PCM- Roland VG8, Acoustic Systems Sound 70’s, 2- Lexicon LXP-1’s, Lexicon PCM-41, booth. Clients: Shakin Jake & the Live 2-Yamaha REV-7’s, Yamaha SPX-90, Alesis Wires, Virtual Zero, Burgundy, Mind Multiverb, Ibanez SDR-1000, Eventide H- Disciple, Mike Connelly, etc. 3000 Ultra Harmonizer, ADA Pitchtrack, Roland SDE-3000, Deltalab 64 Delay, STUDIO/MASTERING Sound Impressions, Inc. Deltalab 1064 Delay, Audio Design Delay. 1920 N. Vancouver Equalizers: Orban 672A 8 band full para- Portland, OR 97227 metric EQ, Orban 622B four band stereo (503) 287-3975 1-888-287-3975 full parametric, NIH PE-30 four band full Fax: 249-5021 parametric, UREI A522 1/3 octave graphic. e-mail: [email protected] Other Outboard Effects: TL Audio Stereo Web Address: www.sound- Mic Preamplifier, Aphex Type II Aural impressions.com Exciter, Aphex Type B Aural Exciter, 2-dbx Other Services: Video Production & 263X de-esser’s, B.A.S.E. Spatial Processor, Duplication, On-Hold Messaging & CD Compressors and Gates: Crane Song STC-8 Rom Authoring. Stereo Compressor, Aphex Stereo continued from previous page River Recording Owner: Dan Decker Compeller , 2-JBL 7110’s, 2-Symetrix CL- Engineers: Nick Kellogg, Dan Decker, 501’s, 2-Symetrix CL-100 , Symetrix CL- TX81Z sound module; Ensoniq ESQ-1; Milwaukie, OR Independents Welcome 150, Yamaha CG2020 Stereo Compressor, Oberheim OB-8; Alesis HR-16 drum (503) 659-5760 Personal: Dan Decker: Owner / Engineer, 2-Symetrix 544 Quad Gates, Audio Logic machine; Oberheim DMX drum machine; Owner: Steve Parker Nick Kellogg Programmer / Engineer, Rick Quad Gates, Aphex 612 Stereo Gate. MIDI Cooper PPS-1 sync box, Ensoniq EPS, Engineer/Producer: Steve Parker Duncan: Engineer, Tim Gerds: Video Equipment: Power PC Mac 8100 100 MHz Roland MKS-20, Roland MT-32, Roland R- Call for current rates and equipment Editor, Assistant Engineers: Mike Warren, with 1.2 gig drive, Mac IICX with color 8 drum machine. Other: Chickering 8' Jason Smith, Jason Leivein and Brain monitor and 100 Meg drive. Power Mac G3 grand piano; Sony JH-10 1"video; JVC Sound Goods Anderson. Direction: Sound Impressions with Digital Performer software, MIDI 8250 3/4" U-Matic; AK Q-lock 4.10 sync; Beaverton/Aloha, Oregon has been serving the Northwest with quali- Time Piece Interface, MOTU 2408. Atari 1040 computer w/Hybrid Arts’ (503) 690-6864 ty audio services since 1983. We now offer Instruments: Yamaha C-3 6 foot grand SMPTE Track Pro software; headphone http://www.soundgoods.com full multimedia services including video, piano, Yamaha DX7, Ensoniq ASR10, splitters 1 in x 4 out; AKG headphones K- Owner/Engineer/Producer: Joshua Slamp CD-ROM authoring and web page design. Fender P-Bass, Fender Jazz Bass, Fender, 240 (2) Sennheiser headphones; Technics Tracks: 24 digital/8 analog Audio projects range from local demos to Telecaster, Kramer DMZ-5000 Fretless Bass, RS-B605 cassette decks (30) with Dolby Rates: SPECIAL INTRODUCTORY national albums. Mixing Consoles: DDA Gibson J-40 acoustic, Rickenbacher 5001 HX Pro, Dolby B or DBX II noise reduc- RATES! $30/hr.; $280 (10hrs) day rate. Or AMR-24, 60 inputs with Uptown moving Stereo Bass, Ampeg B-15 Bass amp, Fender tion. Clients: Valerie Carter/Jackson try one of our CD Package deals. 20hrs/100 fader automation, 24 buss split console Sidekick amp. Sound Modules: Oberheim Browne, Chellie Mitchell, Hummingfish, CD’s $899; 40hrs/1000 CD’s $2499. design. 36 channel master section and 24 Matrix 6R, Korg DW-8000, Sequential Fourty Thieves, Johnny Limbo & the Equipment: Mackie D8B with full automa- channel monitor section. Switchable plas- Drumtrax, 2-Alesis D-4 Drum Modules, Lugnuts, Lonesome Taxi, Mark Eubanks, tion; snapshot & session save; built in ma metering. Soundcraft TS12: 12 buss, 28 Korg M3R, EMU Proteus, Oberheim Phame Choir effects, compression, gate. Alesis, Fostex, Joemeek, Focusrite, Art, Dbx, Lexacon, Tc inputs, 56 inputs on mixdown, Fame fader Matrix 1000, Kawi K1, Korg Polly 800, Electronic, Marantz, Shure, Audio-tech, and mute automation. Amek Matchless 26 Roland JV1010 with Hip Hop expansion inputs, 24 buss, in-line monitoring and 8 card. Microphones: AKG “The Tube”, AKG subgroups, 8 effects sends per channel, 8 414’s, Neuman U-87, Neuman KM-140’s, effects returns, monitors wired for returns EV-RE20, AKG 330’s, 320’s, 451’s, 460’s, D- for a total of 72 inputs for mix down. Multi- 12’s, D112. Audio Technica ATM-63’s, tracks: Otari MX-80 2 inch 24-track with Tascam PE-250’s, Sony Condensers, CB-120 locator for programmable punch- American and Shure Ribbons, Shure SM- in and punch-out. One hundred program- 57’s Sennheiser 421’s & more! Monitors and mable location points. ADAT-XT 24 tracks, Amplification: UREI 813’s, KRK 7000’s, BRC auto locator. Mastering Decks: Otari Yamaha NS10’s with matching sub wolf, MTR-12 II (center-track) _ inch, Tascam 52 Auratone 5-C, Fostex T-20 and Sony head- _ inch, Panasonic SV-3800 DAT. Panasonic phones. Ramsa, Crown, Biamp, Yamaha, SV-3500 DAT, Yamaha CD-R writer, Noise Symetrix, and QSC Amplification Clients Reduction: Dolby 363 SR/ A 2 Channels, and Projects: TK Records Subpop Records Dolby XP 24 Channels SR, Digidesign Atlantic Records Frontier Records Sony D.I.W.R. Digital Audio Workstations: Pro- Records Mercury Records Jon Koonce and Tools III 16 Track Power Mix (on the AVID the Gas Hogs Poison Idea Eric Mathews workstation), Digidesign Pro Tools II 4- Cardinal The Dandy Warhols Swoon 23 track, Sound Tools and Designer, with Pro Craig Carothers and the Nerve Heatmiser I/O, Video Slave Driver, SMPTE Slave Pilot Dan Reed Monde La Bella Caveman Driver., Digital Performer with 2408 inter- face and MIDI Time Piece. Synchronizers: 2 continued on page 31 TIMELESS Simply the Best Recording Studios Engineer Mo Morales 503.873.9595

26 – TWO LOUIES, September 2000 MUSICIANS CLASSIFIEDS STOP IN ANY PORTLAND MUSIC FREE LOCATION & FILL OUT THE FREE FORM

Percussionist. Congas, timbales etc. Experienced singer/ songwriter/ gui- New Christian band looking for sea- Looking to form or join 3 or 4 piece Looking to jam join/start band into tarist seeks bassist, drummer to form soned guitarist with vocals and some acoustic band. I play bass & acoustic Santana, War, Blues, R&B, World. Call: folk/ blues/ reggae trio with room to keyboard abilities. Larry 360/263- guitar. I also write and sing lead and Keith 236-2722 grow, record & tour (503) 774-4984 6634 or Josh 360/694-7530 harmony vox. David (503) 648-3474

Mandolinist/Bassist seeks upright Versatile guitarist playing 25 years Bass player wanted for Rock style Keyboardist, we need you ASAP. Call: bass drums & horns for Jazz, Funk, looking to join Jazz hobby band-work- band. We need an experienced and (503 698-5580) Jamming and rehearsal. Jason 232- shop. I play a wide variety of styles creative bass player who wants to play 5277 also. Neil 292-7592 live and record. Josh 356-8049 Fiction, Portland’s premier progressive Jazz/Rock Fusion band is looking for Metal singer who can Scream/Sing Working cover band seeking keyboard Real Musician Seeks Same Sort Of keyboards, guitar, violin & cello to aug- needed bad. Experience pref. but not player for 1 to 2 gigs a month. Beatles Multi Inst Singer. No amateurs, work- ment our core group. Complex and necessary. Sevendust, Nin, to Metallica. Class act - no drugs. All ing stiffs, cops or puritans. You gotta challenging original instrumental music Machinehead, Meshugga. Call Andy with jobs, transportation & pro gear. play because I do and sing because I with odd time signatures and aggres- 360/513-3973 Must have hair! You need solid keys and a car. Vocals do. Gene 245-5116 sive arrangements. Return To Forever, a plus. Steve 293-6301, Mike 356- King Crimson, Weather Report, Yes, P.A.W.N. seeking soundman and or 6565 Live Sound Engineering & Production. Mahavishnu. Brian 771-1907 keyboardist. Back vox or lighting exp a Reasonable rates. Bill Cushman 649- plus. Gigging w/CD. 257-2864 Keyboard player wanted. Classic rock 7741 Original project in need of a big, bad, band. Vocals a plus. You need to be in bottom end. Innovative drummer and \Death/Punk band needs insane your 40’s or so to fit in with this 82nd USA Band trumpeter seeks bass person needed. Think of Little drummer. Call Sam or Tim at 775- bunch, and know your instrument. Bill band. Age 48. Al Olsen 722-2162 Feat conceiving with The Dead only 8448 503/643-5206 Zappa could just be the real papa. Call Beginning vocalist looking for a band. Stu at 284-9672 Free form clarinet player open to Beat Azedelirium. Original heavy rock with a Open to any style. I can also play per- Poetry sessions. James Marble 255- funk edge seeks a leadman/vocalist. cussion. 775-9039 Sound & lights for hire. DJ sound & 6355. Must have own gear, be motivated and look like you should. Live recording drug free. Steve 649-6966. Looking for Country lead player, key- available- CD or tape. Call Kevin at Heavy R&R band w/CD, Gigs, NxNW board or rhythm player with vocals. 503/762-4883. seeking drummer with experience and Bass player looking. Hear and now. Joe Archer 6507646 commitment. Call today Jim (503) Country, Blues, Rock, Oldies and Good bass player likes funk. Call Rob 977-0976 Standards. Gene 245-5116 Slipsand searching for versatile musi- at 657-9302. cian with multi-instrumental talent for Al Perez Band seeking guitar and key- Looking for female singer to work on already moving and active rock Very established NW act seeks sax & board player. Pro attitude and gear studio recording, tape-CD. (Jazzish, Funkish, etc) band. Joe (503) trumpet. Must be able to write & read required. Wayne (503) 286-6389. Guitarist/songwriter with 24 dig stu- 228-7088 charts. Call John at 288-1218. dio. Peter 359-0928 Christian rock band seeking guitarist & Vocalist looking for all original hard Guitarist with studio looking for good keyboardist with good vocal skills. Guitarist and bass player looking for rock band. Influences Godsmack, singer to write and record with. Talent Please call Larry 360/600-4025. drummer, keyboardist and sax player. Powerman 5000, Filter, AC/DC etc. more important than experience. Call We have jam space, come join us in a Call Rick (360) 883-3780 Jack at 503/753-5151. Bass player seeks other musicians to rising white funnel of rhythms and play jam-oriented rock, reggae, acid groove. 282-6414 Guitarist looking for a band or people We’re a bassist, guitarist and drummer, jazz, etc. 10 years experience. Scott to start a band. Influences Van Halen, mature, experienced, responsible look- 794-7272 Seeking drummer and bassist. Queensryche, various others. I have my ing for piano and Hammond-style key- Creative with an understanding of own gear. Clayton (503) 356-0400 boardist/ organist for hobby band. Bass player looking for musicians to rhythm and good at discourse. We’re Practice once a week gig once a make a frantic, aggressive, thrash type two vocalist/guitarists with original Wanted: Experienced Bass player. The month. Very big on tight arrangements of music. Call Jan at 493-2989 material. Michael 503/963-8867 band plays Country, Classic Rock and and enjoying the musical experience, more. We have gigs. (503) 266-1818. very low on ego and ear-splitting Heavy Rock Band Seeks Singer With amps. Kevin 238-3884 Attitude! 774-5249

27 – TWO LOUIES, September 2000 THE GRAND OL' SOAP OPRY continued from page 17 their lawsuit against MP3.com for Lounge 1:00AM, Mel at Dante’s #3 after two weeks on the Radio Play- making Uni’s CDs available for listen- 11:00PM, Corrina Repp at the Jasmine Favorite Song Requests chart. ing over the Internet. The total Tree 9:30PM, Kaitlyn ni Donovan at Universal award is expected to be over the Jasmine Tree 11:00PM, Alan d $250 million. Charing at Kelly’s Olympian 1:00AM, Duane Jarvis, popular 80’s Pete Krebs at Satyricon 11:00PM, They’re baaack... Portland musician (The Odds) and Helio Sequence at Satyricon 1:00AM, For the 6th consecutive year, now a staff writer for Leiber & Stoller Jollymon at Union Jack’s 1:00AM. North By Northwest takes over Music Publishing, is also a confirmed Although not an “official” NxNW Portland September 20-23, offering a NxNW speaker. Duane will appear venue, Music Millennium NW is fea- four night music festival at 21 local with his band at the Ash Street Saloon, turing some leading names in local venues and a three day music confer- Saturday the 23rd at 11:00PM. talent starting early. Highlights ence a the Embassy Suites Hotel. Other prominent Portland acts include (Thursday/21) Jon Koonce at 300 of “the best up-and-coming appearing live during NxNW include, 4:00PM, Dave Carter & Tracy bands from across the nation” will (Thursday/21) -Fernando at the Ash Grammar at 5:00PM, (Friday/22) perform for an anticipated 15.000 live Street 11:00PM, Pedro Luz at the Ash Black Barrel at 4:00PM, Big Time music fans and 2,000 attendees are Street 1:00AM, Systemwide at the Rosie at 6:00PM, (Saturday/23) expected for the daytime conference. Ohm 11:00PM, Slackjaw at the Tonic Lodestar at 8:00PM. NxNW panel speakers include lumi- Lounge 11:00PM, (Friday/22) - d naries from the Internet music indus- Smegma at the Green Onion 1:00AM, try and traditional record labels. Pinehurst Kids at Ground Kontrol at Scheduled to speak are former 1:00AM, Cool Nutz at Seges TBA Sound Bytes...During NxNW you Talking Head Jerry Harrison-co- (Saturday/23) -The American Girls at can catch Two Louies writer Fran Gray founder of Garageband.com, John Berbati’s TBA, Richmond Fontaine at at the Rabbit Hole, Saturday, September 23rd at 11:00PM... Rubeli-Director of A&R for Atlantic the Cobalt Lounge 12:00 midnight, Records, Tom Sarig-VP A&R MCA Barbarella will open for The Alarm at The Baseboard Heaters at the Cobalt Records and Liz Brooks-VP Berbati’s on October 19th. Marketing for Napster. (This Drummer George Lewis is may be your last chance to moving to keyboards and will hear an actual Napster be spinning out sampled spokesperson state the case drums. Barbarella is sponsored for Internet music piracy.) by Rogue Ale and Jagermeister. Last year’s high profile They also appear at Dante’s on NxNW speaker, MP3.com October 6th...Toni Land will CEO Michael Robertson, do another CD release party probably won’t be back, for “Deep In Diamonds” at the (unless he’s looking for a White Eagle October 8th. job), since US District Judge Land’s band includes super Jed Rakoff awarded Universal session guitarist Tim Ellis, who Music $25,000 per CD in Barbarella Pat Snyder co-wrote some of the songs on

28 – TWO LOUIES, September 2000 BY BUCK MUNGER Diamonds and bassist Steve Hale. Ellis CDs for release. The first, “Planetarium throbs Brian McKnight, Soul Decision and Hale are veterans of the Oregon Madness” is being produced by former and Savage Garden. Rock Allstars softball team...Pacific Dharma Bum Jeremy Wilson at the Bill says this was also the first year Wonderland has just finished their 4th Track Shack and the second will be the new “In-Ear” wireless systems album, due out in late October. PW available only on DVD audio from became standard monitor gear for debuted some of that material Moniker Records, produced by Andrew touring acts. “We’d seen them before, September 14th at an acoustic set at the Basil Walsh...Patrick Lamb has a new but this year they seemed to have trick- Green Room with 9 Volt release on Lucky Records entitled The led down to the average working act. Mile...Richmond Fontaine will perform Closer I Get. Sax player Lamb has Everybody was using them.” material from his recent CD Lost Son at toured with Tom Grant and Dianne With the custom fitted ear pieces the Mt. Tabor Pub September 30th. Lost Schuur and recorded with Gino Vanelli musicians can get an individual stage Son was produced by Luther and Kenny G’s band. Patrick recorded mix directly in their ear. “We were Russell...Luther also produced Mel the lp at Frank Butler’s Timeless doing up to 10 different monitor Brown’s new CD. Mel holds a CD Studios. Lamb will appear at mixes.”says Bill.“It requires more tech- release party at Berbati’s Pan September Millennium NW on Sunday, October nical expertise on the part of the mon- 29th...Rubberneck holds their new CD 1st at 3:00PM itor mixer because with In-Ear moni- release party at Berbati’s September tors feedback can definitely be a major 30th...Lew Jones is prepping two new d problem.”

15,000 screaming females in your face... “Now I know why the Beatles quit touring.” says Bill Phillips; senior stage manager for this summer’s Waterfront Blues Festival, The Taste Of Beaverton, The Bite and Z100’s Last Chance Summer Dance. “I’ve been standing in front of loud rock-n-roll bands for years, but I’ve never heard any- thing like this. It was louder than a jet airplane. I didn’t have a meter, but I’d bet it was 130db, at least.” Phillips was talking about his gig at Z100’s Last Chance Summer Dance, Steve Hale Pat Snyder which featured male teen Papillon Pat Snyder

29 – TWO LOUIES, September 2000 continued from page 15 and laying down in the sun and listening to lyrics of a refined songwriter. His voice and silhouetted faces. You might think...Fab Five? music. And whats wrong with that? ...I guess.” songs have a Jackson Brown-ness about them But you listen on and what you actually hear is with pop intentions that braise and sizzle super-heated Indie pop. “The Subversive But Then The Sheriff Came: across country-ish sounds and instrumenta- Sounds of Love” is confectious to be sure According to Wilcox, Conde had appar- tion. Andrews, co-founder of and songwriter with lots of “la la la la” backing vocals, but ently been contacted by the Sheriff’s depart- in Portland Band Colobo, has bejeweled his electric guitar rhythm and subtly inviting ment before about going over the “time music with back-up provided by Northwest hooks plant these songs indelibly into the allowed for loud music” on Saturday night. eclectic roots band Ponticello, backing vocals music library of your cerebral cortex. So Sunday, they brought in, to quote Conde, by local Lilith girl Stephanie Schneiderman Frisbie’s “Subversive Sounds of Love” is pop “an army of deputies,” to cuff him and throw and lingering lap steel licks by Chris Funk of at its best, it’s sort of like a chocolate covered him in the “kind” county jail. (Okay Otis, the Ashleigh Flynn Band. What more could espresso bean; sweet but delivering a jolt that you know where the cell is!) you ask for? wakes you up. “So we played 2.5 songs and went (Catch him at the Siren Music NxNW home.” Wilcox explained, “We saw no show showcase with Ponticello.) NOTES ON HEMP FEST 2000 of any police force. Apparently, they were all Leslie Wood- “That Night” – Mog CD over at Bill’s house threatening him from This punk princess puts it together nice- Interview with Jack Wilcox of Portland afar, other than the group of the county’s ly. Leslie Wood’s gigantic voice is both pierc- band Feller finest huddled in a ...well ...a huddle out on ing and filled with stormy rage, yet the “...there I was, fighting off the Pigs with the festival grounds. They were being singing of this Seattle rocker is often outlined one hand and running the World Hemp Fest extremely tolerant, though I did see one dirty by a softer edge as she waxes and wanes with the other. The crowd wanted more! hippie get a ticket for lighting up in front of between slamming punk explosions and more! more! But it wasn’t to be. I was them.” haunting folk-punk acoustic songs. What is brought down by THE MAN...” Reflecting on Hemp Fest, Wilcox sought she saying? Musically, she is saying every- “When I think back on the show, I can’t out the wisdom of his older sibling. “I asked thing. The maturity of her arrangements and help but suspect that it was the way Bill my brother and he thought the “real” hippies playing sets her apart. The power of her Conde wanted it to go out,” said Feller band at least had an agenda of peace, brotherhood music is easily digestible through the silky mate Jack Wilcox. Festival owner Bill Conde and love.” Wilcox continued, “...it’s hard to tone of her bountiful singing. Wood’s voice, was putting on his last show. “He’s moving to tell the difference between a hippie that cares which is juxtaposed against her hard-core Belize and was saying that this is the last about peace and love, and the “trustifarians” electric guitar and bass playing, makes this World Hemp Fest that he would put on. You that have trust funds, but choose to live what CD a very quick listen. Granted there are know, with guns a blazin’.” they see as the hippie life and could care less only seven tracks on “That Night,” but the Wilcox vicariously re-enacted Conde’s about any agenda. Though we both agreed disc feels complete. possible last stand...”there I was, fighting off that both groups probably just found it con- Track 2, “Mine,” with its quietly angry the Pigs with one hand and running the venient to live that way. Drop out, hang out, syncopated bass hook and deceptive, whis- World Hemp Fest with the other. The crowd smoke out, lay out, in that order.” pering, sultry lead vocal is ignited at the cho- wanted more! more! more! But it wasn’t to In spite of their disappointment at how rus by searing lyrics and a voice of fury. On be. I was brought down by THE MAN...” loosely managed Hemp Fest was with the the very next track however, “You Can’t Wilcox, who calls himself a total square, music running hours past Feller’s scheduled Leave,” Wood shows her softer side. A gently gave some background on the festival. “In performance time, Wilcox added that they fingerpicked guitar and sweet vocal is almost general, I felt that the festival was more of a were very glad to have played even a couple in line with something from an early Indigo smoke out than a political/social rally of any of songs. “We really do like to support those Girls folk recording. By track three, Wood is kind...I think the idea of making hemp a use- people that are making it their life’s work to at it again...slamming punk guitars side by ful textile fabric to replace cotton clothing show the world that hemp can be an excellent side with a beautifully angry voice. and to save trees with hemp paper, etc... was alternative resource.” So by the light of the From soothing to ferocious, Wood com- kind of lost on this crowd. Though there was full moon, Portland band Feller closes out fortably eludes categorization as she spins hemp clothing being vended and different the saga of Hemp Fest 2000. tales of love and sadness. Like moonlight Hemp groups to join, the main interest of the Another year up in smoke. shining through the mist on a fall night, the crowd seemed to be in glass bongs and pipes. dark beauty and power of Wood’s music is Don’t get me wrong, some of them were MORE REVIEWS translucent and mysterious. amazing pieces of artwork. Maybe I just don’t get what Hemp Fest really is. David Andrews-”Get Me Out of This Place” “But a lot of people did go to the event CD Siren and I think all the information about groups This CD has little wings that make it fly d and political things to do were there. There by fast. David Andrews’ 1000 grit voice is a just seemed to be more interest in getting high powerful instrument that delivers the intense

30 – TWO LOUIES, September 2000 continued from page 26 Convenient NEW NW location. 2 New stu- Shoe Store Pig Pen Hearing Voices Snowbud dios under construction. Coming soon: Dan Balmer The Killing Field Steve Hanford Totally Automated 5.1 Surround Mixing Miracle Workers Brothers of the Balidi Room! Free evaluations of your tape! Cruella Nu shooz John Nilsen Michael Harrison Tall Jazz Dub Squad Gary Hobbs Tonic Media Gary Ogan Dub Dubree Steve PO Box 14062 Christopherson Here Comes Everybody Portland Oregon, 97214 STUDIO/MASTERING Patrick Doro Lyle Ford Patrick Doro Marv (503) 236-2123 Ross Rindy Ross Lyle Ford Land of the Blind Email: [email protected] Al Perez Chode Mel Nancy Bright Leroy Owner: Alan Alexander III Vinegar Soular Jeff Cava OC192 Carla Cox Engineer: Alan Alexander III Gypsy Caravan Melt JIVA Bob Stark Rates: $35 per hour for mastering Philmore Flemming Victor Wooden and Mastering Suite Equipment: Pro Tools, many more. Sound Designer, Mackie CR1604-VLZ Mixer, SuperDigital Ltd. Tascam DA 88, Sony DAT Recorder, Jaz 915 N.W. 19th Portland OR 97209 Drive, Yamaha CDR 102 CD Recorder, JBL 228-2222 Control 5 monitor speakers, Digitech Email: [email protected] DSP128+ Programmable DSP,(2) Alesis equipment and instruments. Tape costs & Recording and Processing: Korg 1212 card Web:www.superdigital.com Microverb II, Rocktron Hush IIX Noise charges for digital storage of projects addi- with: Cubase VST24 v3.7; Cakewalk 6.0; Owner: Rick McMillen Reduction Unit, (2) BBE Sonic Maximizer - tional cost. Block rates are available. Call for Sound Forge. Effects: (2) Alesis Quadraverb Contact: Michael Maughn aural enhancer (one stereo, one mono), details. 2; Lexicon Alex; SPX-90; Boss SE50; Alesis Engineers: Rick McMillen, Michael Maughn, Alesis Micro Gate - noise gate. 24 track digi- Recording Equipment:Tape Decks: Six Adats- Microverb; various others. More processors: Tony Lash, Mo Morales,Bob Stark, tal recording studio also available. Feel free to (1) Adat XT-20 (4) Alesis Adat XT and (2) TC Electronics Finalizer; Aphex Aural Freelancers always Welcome! inquire regarding MIDI and other gear. Alesis Adats with BRC remote controller; Exciter; Aphex gates; Behringer Intelligate, Rates: $50-$95/hour Depending on engineer. Clients: Hungry Mob, Dub Squad, KMHD Tascam MS-16 1” analog 16 track; Panasonic Composers;Musical Instruments: Acoustic: Equipment: 24 BIT DigiDesign ProTools24 Radio, NW Film and Video Center, Lawrence SV-3700 and Tascam DA-30 dat machines; 1997 Steinway Model B 7’ grand piano; MixPlus with all TDM plug ins, Pro Control, Johnson Productions, Angela Pope, Shannon Philips CD recorder. Mixing Board: Yamaha Hammond B3 with 122 Leslie; Hammond 888/24, ADAT Bridge, Apogee A/D & D/A Day, Quixotic Music Productions, Workhorse O2R digital mixer (fully automated faders, M3 with custom Leslie; Rhodes 73 Suitcase Converters, GML EQ, GML Dynamics, Productions, 21 Cent Media, Inc., Arts in EQ, effects, panning etc. with built in effects, piano; Synths and Keyboards: 19 midi key- Manley Mastering Pultecs, Manley Massive Education, Regional Arts And Culture gates, compressers, expanders) with 4 Adat boards or rackmounts including Roland JV- Passive, Manley VoxBox, TC Finalizer, dbx Council, City of Portland. interface cards. Tube preamps, compressors: 1080; Roland JV-1010; Roland JP-8000; Quantum, UREI 1176s, dbx 160sl, Genelec (5) Manley tube preamps (2 independent Clavia Nord Lead; Korg Trinity; (2) Korg Active Monitoring with subs, CD burners, Walter Midi Recording inputs per unit), Manley voxbox, Manley El- SG1D; Korg SGProX; Rhodes VK1000 organ; Panasonic & Otari DAT recorders, 1420 SE 162nd Op leveling amplifier, Drawmer 1960 Roland S-550 sampler; Alesis QS7; Roland Nakamichi cassette, Otari open reels, Dolby Portland OR 97233 pre/compresser. Microphones: (2) Manley U220; Korg O3RW, and etc. Recent clients SR / A, and much more! (503) 761-0964 reference cardioids; (2) Manley Baby car- include Colobo, Radio Flyer, Five Fingers of Clients: Who’s who of NW music. Email: [email protected] dioids; (3) AT4050; 4033; AKG C3000 and Funk, Kenny Mack, Al C, Clever Crew, Izaya, Other: Excellent gear & the best ears to give Owner/Engineer: Jon Lemon D112; Audix D1s and D2s; EV RE20; misc Land of the Blind, Finger Lickin’ Good, you the best finishing touch for your album! Rates: $40/hr includes engineer and use of all others and lots of 57s and 58s. Hard Disc Buddha Beatnik, Al Zion. www.nxnw.com

NORTH BY NORTHWEST {MUSIC & NEW MEDIA CONFERENCE} SEPTEMBER 20-23 PORTLAND, OREGON

FOUR NIGHTS OF MUSIC HUNDREDS OF COOL BANDS DIGITAL VIDEO SHORTS FESTIVAL

Opening remarks by Talking Heads keyboard player Jerry Harrison… NXNW 2000 offers the best in new music at Portland’s finest venues, holds a conference/trade show addressing the role of the internet in today’s changing music business, and presents a cutting-edge digital video shorts festival. Register online at www.nxnw.com.

NXNW Headquarters: PO Box 4999, Austin, TX 78765 tel 512/467-7979 •␣ fax 512/451-0754 e-mail [email protected] • www.nxnw.com

31 – TWO LOUIES, September 2000