photo Buko

est VIP lounge. On this particular night, the largest lounge is occupied by “Big Tony” and his consigliere “Vinnie”. Bada Bing! Vinnie looks like the Sopranos ‘Big Pussy’ character except he has ‘Silvio’s’ hair. And talk about a charmer, Big Tony might as well be ‘Tony Soprano’ himself. He had girls clamoring all over him. A friendly guy and a big spender, Big Tony orders my crew a round of drinks and a platter of mouth-watering Lobster Spring Rolls. My first Margarita on the Rocks is creep- ing up on me. I’m thinking best damn mar- garita I’ve had in a long time or maybe I’m just buzzed. I look over at the dance floor and it’s packed because the DJ is bangin’. This guy is by Chauncene mixing everything; Hip Hop, House, Techno, Alternative Rock and everyone is feeling it! “Let’s Get It Started In Here!” “Let’s Get It Started In Here!” I check out the crowd, the beautiful ones, the lucky ones, the young ones, the older ones; everyone seems to be pretty hip, and groovin’ on the same vibe. For the ladies there were Casa- nova types, lady-killers, ’m in Portland for and bad boys galore. For a visit and Cindy, a the guys, there were man- former Southern Cali- eaters and let me tell you; forniaI party crew-member these girls were hungry. (now living in Beaverton), Alexander stops by says to me, “There’s this really a few minutes later to cool club that opened not too check on things. My crew long ago.” “You’d like it.” “It’s assures him that him that called H2O and I heard it’s everything is just GREAT. hot, but you usually have to Then Alexander whisks stand in a long line to get in.” me off on a tour of the A line I thought; me wait in club. As you walk through line? I frequent practically the entrance, to your left is every mentionable dance an impressive dining area club in Hollywood and I can’t and full bar. Behind the remember the last time I had bar is the ladies room, fully to stand in line to get in. So, equipped with a seating why start now? area, mirrors, stainless steel First, we gather our I’m a Two Louies stalls, and an attendant. Up crew. Cindy and I, and her husband Dave, writer / photographer (among other things), the stairs and to your right is a mini bar, dance Cindy’s friend Jenny, and Dave’s cutie pie, bad and that I want to do a story on H2O. The floor, DJ’s booth, and VIP lounge sections. boy friends Nikolai and Emil aka “The Twins” second call comes in a few minutes later. It’s After Alexander’s tour, I take my own. (beware ladies). Two of Cindy’s sisters are the H2O manager’s Administrative Assistant The place is packed and as I make my way stoked on going, and of course the sister’s hus- and she says we’re booked in the VIP section back to the lounge; I spot my bad boy extraor- bands too; to keep an eye on their women. for Saturday night, a party of 10; righteous. dinaire. A Velvet Revolver - Slash look-alike, Second, I call and ask Jonny DuFresne if It’s Saturday night and we arrive at the sans the curly hair. I can picture him now, he’s I can use this article as leverage to get in the H20 Martini Bar & Restaurant just before muscular but not too muscular, he’s about 6’1”, club without standing in line. Jonny says, “Hell, 10:00 PM and little buzzed I might add. H2O he’s wearing a fitted shirt and the rest of the write the article yourself, drop Buck’s name; he manager, Alexander, greets us at the door and good stuff is packaged in jeans. I smile at him, won’t mind, besides, it’s only Portland.” tells us there’s no charge. A distinguished, gra- and he smile’s back and say’s, “Heey”. I turn Third, we call 411 more than three times cious man, he apologizes because our section around and say, “Heeeey”, but I keep walking. I in attempt to get the phone number for H2O is not ready. Then he says he wanted to give kept thinking, “Damn!” “Stay away, stay away; and we’re told there’s no listing; bummer. Then us the VIP lounge next to the dance floor, but this dude could get me in a lot of trouble.” Cindy called local radio station Z100 to get apparently it’s been booked for weeks; some I’m back at the lounge and the majority of the number. Apparently, H2O is a constant Birthday Party thing. my crew are either dancing or cruising. Cindy mention on 100.3. Our first return call came Anyway, we finally get to our VIP lounge from the Z100 station manager. I explain that area, which happened to be next to the larg- Continued on page 21

TWO LOUIES, Volume 26 Number 1, 2005 - Page 3 Tuning up for the Adrian Jam.

don’t know about you but because of the need a long album to establish good songwriting lucky crooners posses. Norm has a sweet album dark, cold days of winter, this time of the skills especially when you have a great mastering titled “MOODY WATERS” packed with eight year seems right for writing, recording company like Nettleingham Audio lend their original blues tunes and chock full of area big- and woodsheding.I Also, if you’re lucky enough to expertise. All three tunes “Dodge Dart”, “Burnside” gies. In addition to Norman Moody on keys and be invited a workshop or two they can certainly and “All Th at” show a realistic feel for Portland life vocals this cd highlights the talents of Lloyd Jones help improve your music skills. A couple of years as seen through the eyes of a musician from the on lead guitar, Duff y Bishop on backup vocals, ago I was mistakenly invited into a trap drum area. Marty Vincelli and George Reeves on Guitar, Robbie Laws on lead guitar, Rick Roadman on workshop featuring one of the drummers from the Peter Anderson on bass and Matt Parrot on drums. lead guitar, A.C. Porter on lead guitar, Josh Fulero James Brown Band. It turned out to be a sweet deal indeed, I sat in the same room as many of Portland’s “Norm Moody has a sweet album titled drum-elite watching, listening and learning from a member of one of the most renowned rhythm “MOODY WATERS” packed with eight original sections in the world. If nothing else I hopefully blues tunes and chock full of area biggies.” learned how to better communicate with drum- mers and therefore not get smacked in the back Contact Avery Time at [email protected]@yahoo.co on lead guitar, Chip Douglas on bass guitar, Jeff of my head quite as oft en on the gig. My latest for upcoming performance dates and other rock Giamario on lead guitar, John Beyer on drums, workshop pick is for the Wednesday, January 26th star info. Larry Duos on drums and the cat with the coolest ADRIAN GUITARS in store “meet and greet” style Blues organist Norman Moody is working musician name ever; Pat Counts on bass. Tracks jam sessions. I went to one of these last year and I hard out at the Red Room at 2530 N.E. 82nd 1-6 were recorded at Ankeny House in Portland, think it’s a great place for beginner and mid level Ave. on Th ursday nights. Norman made a name tracks 7-8 were recorded at Th e Studio on the big players as well as seasoned show off s like myself. for himself in Hawaii playing the blues and co- Island Hi. Chip Douglas produced and engineered Adrian is a cool old style storefront music store founding the Hawaiian Blues Society and the East tracks 7 and 8; Norman Moody produced and nestled in historic Oregon City just across the street Hawaiian Blues Association and well involved engineered tracks 1-6. Th is CD was mastered at from the Mcloughlin House at 502 7th Street or, with the Maui Blues Society and also won the fi rst Northstar in Portland, and the bluesy graphic art call them at (503) 656-1913 “Keeping Th e Blues Alive” award from the Hawai- and typesetting was done well by the one and only Sound tech/musician Marty Vincelli from ian Blues Society. Norman Moody has a great feel Margo Tufo. Check out Norman Moody at the the Satyricon and DV8, put together a great 3 for the blues both instrumental and vocally with Red Room on Th ursday nights or contact him at song demo with his band Avery Time. You don’t a distinctive well honed resonance only a few [email protected] LL

Page 4 - TWO LOUIES, Volume 26 Number 1, 2005 EIGHT TYPES OF PUBLISHING DEALS: kinds of deals mentioned above. Incidentally – and this is very important -- the AN OVERVIEW Th e “Traditional” Publishing Deal “term” means the period of time during which the eople oft en speak of “publishing deals” in First, of all, the term “Traditional Publishing songwriter is writing songs for the publisher, and a generic way, which implies that there is Deal” is not a term customarily used in the music not how long the publisher will have rights in those only one kind of publishing deal. In fact, industry. I am only using that term here for purposes songs. Normally even though the term of the agree- there Pare a number of diff erent kinds of publishing of distinguishing this type of deal from the other types ment may be only a few years, the publisher will be deals. of publishing deals mentioned below. the owner of those songs for a much, much longer But fi rst, some historical background. 1. Typical Scenario. As mentioned above, this period of time, i.e., until they go into public domain In the very early days of music publishing, song- writers simply sold their songs to music publishers for a fl at amount. Later, as songwriters became more business savvy and gained a little more negotiating leverage, a new kind of contract evolved, consisting of three basic elements: (1) Th e songwriter would assign all copyright ownership of the songwriter’s songs to the publisher; (2) Th e publisher would have the right to try to get the songs commercially exploited; and kind of deal dates back to the days of Tin Pan Alley. many years later. (Th ere is one exception here: If there (3) Th e publisher would agree to pay royalties to the Today it’s used when a songwriter and a publisher is a reversion clause in the contract, then copyright songwriter based on income received from third par- want to have a long-term relationship for all of the ownership may revert to the songwriter at some future ties from any commercial exploitation of the songs. material that the songwriter will be writing during the specifi ed time.) Although that basic type of deal (which I refer to duration of the contract. Th is type of deal is usually 6. Advances. Th e larger established publishers below as the “traditional publishing deal”) still widely not used when the songwriter is signed to a record typically pay a recoupable advance to the songwriter exists today, various newer kinds of “publishing deals” deal. (See “Co-Publishing Deals” below.) for the fi rst year (payable in installments), oft en in have evolved over the years. 2. Material Covered by the Deal. Th is kind of the range of $25,000 to $50,000), then an additional Incidentally, when I use the term “publishing deal will cover material written during the term of the advance each following year the publisher exercises deal” here, I’m using the term broadly, to refer to any contract, and sometimes may include certain specifi ed its option to continue the contract for another year. kind of deal whereby some individual or company songs written before the contract was entered into. Normally the contract will contain somewhat compli- (other than the songwriter) obtains the right to receive Usually the contract will require the songwriter to cated provisions for how the amounts of the advances a share of the songwriter’s music publishing income deliver a certain number of new original songs to the for the follow-up years will be calculated. (for example, mechanical royalties from the use of publisher during each year of the contract. Th e Single Song Agreement songs on records, public performance income from 3. Copyright Transferred. Normally, the writer is 1. Typical Scenario. Th is type of agreement BMI and ASCAP for radio airplay, and synchroniza- assigning (to the publisher) 100% ownership of the basically is based on the same concept and structure tion income from the use of songs in fi lms, television copyright of the songs covered by the contract. as the “traditional” type of deal mentioned above, but shows, computer games, etc.). 4. Income Sharing. Th e publisher receives all involves only one (or several) of the songwriter’s songs Th e Diff erent Kinds of Deals income from third parties, then pays the writer one- (i.e., one or several songs already written). Sometimes, In short, the eight kinds of publishing deals half of that income. Th e publisher here is getting a a relationship between a songwriter and publisher will today are as follows: (1) Th e “traditional” Publish- larger share of the publishing income than in most start out this way, and later they will enter into the ing Agreement; (2) Single Song Agreements; (3) of the other types of deals mentioned below. Th at “traditional” type of deal mentioned above. Co-Publishing Agreements; (4) “Step Deals”; (5) is because, in the case of this “traditional” kind of 2. Material Covered by the Deal. Even though Administration Agreements; (6) Income Participation Agreements; (7) Catalog Representation Agreements; “The eight kinds of publishing deals today and (8) Sub-Publishing Agreements. are as follows: (1) The “traditional” Publishing Th ese eight kinds of deals vary from one to the other in many respects, most importantly the follow- Agreement; (2) Single Song Agreements; (3) ing: (1) What percentage of copyright ownership, if any, is given to the publisher; (2) What share of future Co-Publishing Agreements; (4) “Step Deals”; publishing income the publisher will get; (3) What (5) Administration Agreements; (6) Income functions the publisher will perform; and (4) How long the agreement will remain in eff ect for. Participation Agreements; (7) Catalog Representation For example, the fi rst four kinds of deals men- tioned above involve the transfer of at least part of the Agreements; and (8) Sub-Publishing Agreements.” copyright ownership of the songs. Not so, usually, with publishing deal, the publisher’s responsibility is to the title of this kind of deal would imply that it is only the last four kinds of deals mentioned above. proactively promote the songs involved and, theo- for one song, this kind of agreement is sometimes Of the eight kinds of deals mentioned above, retically at least, it is the publisher’s eff orts that will used for several songs at the same time. there will almost always be one particular kind of deal cause any future success of the songs. On the other 3. Copyright Transferred. Same as with the that will be the most appropriate type of agreement for hand, in the case of many of the other types of deals Traditional Deal mentioned above. a particular situation. By the same token, that same involved, the publisher’s role is less promotional and 4. Income Sharing. Same as with the Traditional contract will likely be totally inappropriate for many proactive in nature, hence the publisher gets a small Deal mentioned above. other types of situations. For example, an Adminis- piece of the pie. 5 . Term. Same as the Traditional Deal men- trative Publishing deal might be the perfect kind of 5. Term. Normally, the agreement will be for an tioned above, but in the case of the Single Song deal for one situation, and totally inappropriate for a initial one-year period (with the writer obligated to Agreement, it is much more likely that there will be diff erent situation. Th erefore, I will outline below, for deliver a certain number of songs to the publisher in a reversion clause. Typically the contract will (or, at each type of deal, the kind of situations that each kind that one year), then the publisher will have several (in least, should) provide that the copyright ownership of deal is particularly appropriate for. the range of three to six) consecutive one-year options will revert to the songwriter if the publisher is not And now, a thumbnail sketch of each of the eight following that initial one year. Continued on page 22

TWO LOUIES, Volume 26 Number 1, 2005 - Page 5 jazz” movement, Lorber, along with Spyro Gyra, return on “Enjoy Yourself,” wherein McClain deliv- also aided in bringing jazz to mainstream FM radio. ers the absolute paragon of all funk rhythm guitar Today, there are whole radio networks dedicated to passages- worthy of Willie Woods with Jr. Walker the music that Lorber helped to found. and the Allstars or of Jimmy Nolan in James Brown’s Over the years, the assorted players went their Famous Flames. various ways, with most of them ending up in LA, Botti adds his muted trumpet to “Gazpacho,” playing as valuable session men, as well as fronting where Phillips plucky basslines provide the propul- their own projects. When they reconvened in the sion. Th e very defi nition of smooth jazz: with funk early ’90s, it was with an idea toward rekindling old elements. Lamb makes an appearance on “Love ideas in a new vehicle. Come Down,” a tune that was a hit for Evelyn Th is album, recorded in 1994, brings together “Champagne” King in 1982. Lorber peels off a fi ne old friends Lorber, McClain and Phillips (and solo in the midsection, while McClain and Phillips numerous special guests, including Portland reed- handily maintain the momentum. “We Got To Live man Patrick Lamb, red hot trumpeter Chris Botti- Together,” paraphrases Sly and the Family Stone‘s before he had even recorded his fi rst solo album “Everyday People,” as Stanton returns for the vocal and saxman Art Porter, who died in Th ailand in a duties, his mellow falsetto comparable to Smokey boating accident, only a few years aft er this, his fi nal Robinson or Curtis Mayfield. “Get Wid It” is a recording session) to forge new ground as well as to keyboard driven number that sounds as if it could revisit old turf. And, even ten years aft er the fact, this be the theme song for an ‘80s sit-com. McClain’s album still manages to sound fresh and new. succinct solos serving to give the fl uff y piece a bit With a falsetto as smooth as fine leather, of funky perspective. vocalist Terry Stanton brings a sure presence to Botti returns on “San Vicente,” again adding the silken mood of “All Night Long.” Lorber had his seductive muted trumpet to the mix. Stanton worked with Stanton on Hidden Beach’s Unwrapped lends the title track a Kool and the Gang feel with series of recordings, recruiting him specifi cally for his smooth, James “JT” Taylor-like vocals. Marlon this project. McClain’s guitar solo and Phillips’ bass snaps off a slinky guitar solo that singes the middle solo are especially eff ective. Porter’s plaintive sax, of the tune. Lorber and McClain duet through the takes the lead on “Th en And Now,” sounding a bit beginning of “Gangsta Jam,” as Jeff breaks out in the like Grover Washington in his heyday, with Lorber turns with scintillating organ-toned keyboard lines. adding zesty fi lls in the breaks. Stanton and Porter Th e band gives Roy Ayers’ 1976 release, “Hey, Uh” Continued on page 8

Shades Of Soul - Shades Of Soul Narada Jazz ack in the ‘70s, two of the most popular bands in the burgeoning Portland music scene were Pleasure and the Jeff Lorber Fusion.B While Pleasure, with guitarist Marlon McClain at the helm and bassist Nathaniel “Nate” Phillips and drummer Bruce Carter holding down the foundation, Pleasure produced the very fi nest of Funk and Soul. Pleasure’s album, Future Now, recorded in 1979, featured Jeff Lorber on synthesizer. Later, Phillips and Carter, along with other Pleasure graduates, formed Cool’r, the houseband of the ‘80s in numerous popular local clubs. McClain and Phillips also played in the techno funk Dazz Band in the ‘80s. Meanwhile Lorber aimed his instrumental stylings at the jazz fusion audience, whose interest in keyboard oriented riff age was piqued by the likes of Herbie Hancock, Joe Zawinul of Weather Report, Jan Hammer of the Mahavishnu Orchestra and Chick Corea and Return To Forever. While oft en blamed for his responsibility in ushering in the career of maudlin reedman Kenny G., and the whole “smooth

Page 6 - TWO LOUIES, Volume 26 Number 1, 2005 ere I am in Florida’s Alligator Alley. began at Th e KravisCenter in West Palm Beach. party I did. I attended a house warming at Jeff Hart- What a world. What a world. Life is As I write this, we’re focusing lights for our ford and Deanna’s beautiful new home in Southeast such an amazing trip. A few days ago fourth performance and I feel like I’m receiving my Portland. It was a nice combination of theater folk, I was Hthinking how relieved I was that Christmas was Graduate Degree in theater. Between the language Hollywood Lights people, and an array of Portland’s over and suddenly my life changed. barrier, learning curve and being away from my fi nest. Th omas Lauderdale’s holiday party at his two A few years ago while visiting New York, I family and Portland, I continue to have that ‘seat story loft downtown was jam packed with artists, applied for a touring job at International Creative of my pants’ feeling that’s truly a writers, dancers and enough glitter to boggle the Management (ICM), which permeant high. mind. I think Th omas is one of the nicest people in is a company that promotes Next month, I hope to have Portland. I went to a dinner for Jacque VonLunen, dance and high end some grand tales from New York, who was the Head of sound at the Keller Auditorium. specialty tours Chicago, Atlanta, and Philadelphia. It’s He’s leaving his position to go to college and study around the journalism. We all met aft er a matinee performance of ‘Nutcracker’ and ended up in a private room dancing on the tables, smoking cigars and having a hysterical night. Maestro Neil DuPont had a sweet get together at his home in the Southwest hills in honor of Jessica Flores who’s leaving Oregon Ballet Th eater to work as a Stage Manager for the Geoff rey Ballet in Chicago. We will miss her terribly. She’s an amazing woman who never ceases to make world. I met the Company Manager of me smile and OBT will have a tough NDT Ballet (Netherlands Dance Th eater) time replacing her. Jessica likes to have dress Richmond Davis, who’s a great guy, a stage- up days and themes for the backstage workers hand, and who told me to send my resume during ‘Nutcracker’. One day it was pajama day. to Leonard Stein, the Vice President of One was stupid hat day and then there’s Hawai- ICM. Th at was about a year and a half ago. ian day. It’s quite hilarious and the camaraderie Anyway, during my interview Leonard was and fun is infectious. Flores probably should very polite, but told me that my experience have been a comedian,but she went into theater and qualifi cations were not quite up to snuff and makes the job very enjoyable. I wish her and that he would like me to send him my great success and happiness in her career and updated resume when I got more experience. hope that she will come and visit us oft en. I followed his advice and sent him several My musical pick for January 2005 is updated versions that kept him up to date Tutu Band and Dark Skies. Tutu Band played on my progress. a benefi t for the music department of Wilson Last Wednesday at 4 AM, I was lying High School at O’Conner’s in Multnomah and in bed during a fi tful night assessing my life it was great to see the old family. Th ey played and fi guring out how to politely tell off one all their greatest hits and it’s always good to of my coworkers who’s been dogging me for laugh at their antics. My favorite song they fi ve years. Th e phone suddenly rang and it play is the Neil Diamond chestnut ‘I’m a was destiny calling. Leonard Stein’s assistant Believer’. Dark Skies is my fellow stagehand Kimberly greeted me and calmly explained Joe MacHamer’s band. He’s the leader of that the “The Moiseyev Dance Company’ this trio (drums, guitar and bass) and I was from Russia was going out on tour the very completely blown away by his talent as a next day, and could I get on a plane and fl y to guitar player and song writer. I’ve known Florida to join the tour. She went on to say that Joe for a few years and love working with him as a the Technical Director had to bail because his remarkable when the saying, ‘be careful what you stagehand because he’s mellow, effi cient and an all wife, who’s pregnant was having medical problems wish for’ can actually manifest with a speed that’s around great guy, I knew he was a musician and and that he had to bow out of the tour to care for oft en overwhelming. he invited me various times to hear his band play. their seven year old son. I thought about it for one Th e holiday season consisted of the Opera, I fi nally got to hear and see Dark Skies at Kelly’s second and said “Yes!”. Singing Christmas Tree, and Nutcracker. I found it an Olympian with Th e Money Changers and Slip Its in December. Kelly’s is a great old Portland bar and the “Thomas Lauderdale’s holiday party crowd was young and very interested in the scene. Joe almost seems shy when you fi rst meet him, but at his two story loft downtown was jam you can forget that when he hits the stage with his packed with artists, writers, dancers and fringe jacket and guitar. He’s defi nitely a rock star and he reminded me of Jimi Hendrix/ Dead Moon/ enough glitter to boggle the mind.” Pete Townsend and Buddy Holly. It’s very hard to describe, but he’s a rocker. Go see Dark Skies and In show business, it’s sort of a badge of experi- enjoyable season this year. I didn’t get exhausted or support our local musicians! ence and honor to go on the road, and it’s something sick, and I found that by not having any expectations, Please write to me and tell me about your that I’ve always longed to do. Needless to say, I left and going with the fl ow, it made for a very Merry upcoming events and projects: rosebud@teleport. the next morning, and fl ew to Florida where the tour Christmas. Of course, it was the party season so com LL

TWO LOUIES, Volume 26 Number 1, 2005 - Page 7 and Francis Scott Key on another; imbuing each days. Very cool. Weepy synth-strings augment the with an unique perspective, in a molecular collision fairly straight-ahead interpretation of John Denver’s of styles and content. And at the eye of the storm, “Leaving On A Jet Plane,” with, apparently, not a is Ms. Large. shred of irony within the performance. Wow! Continued from page 6 Th eir collective rendition of “Van Ministry” is While the concept of an ersatz lounge band, thorough updating, while retaining the inherent a good case in point. Over the familiar machinery sarcastically commingling disparate songs into a funk elements contained in the original. of Schreiner’s mechanical beats, the band lays down pithy new silk purse is neither new nor particularly Smooth jazz (even with funk underpinnings) a cool groove, upon which Storm fl oats, cooing the revolutionary, Storm Large and the Balls do it about tends to be glorifi ed background music, lacking lyrics to Ministry’s “Stigmata” in tandem with an as well as anyone; owing in no small part to our host- the melodic and rhythmic characteristics neces- electronically generated Large male voice, singing ess’ fl air for the ribald and the bawdy. Th is aspect of sary to really stand out. However, the chops that in unison, two-octaves below. Midway, the song the band’s popularity is far better realized on stage Lorber, McClain and Phillips employ are a cut segues into the back half of the chorus of Morrison‘s than on record, especially: this record. above the average smooth jazz album- off ering the “Moondance,” fi nishing by splitting between the Here, Keith Schreiner becomes the focus, with conscientious listener great rewards for an attentive two songs. Storm hovering somewhere near the center and the audition. Th e Balls’ version of “Lilac Wine” is probably rest of the band drift ing through from time to time. more in the spirit of Nina Simone’s original, than It is Schreiner’s mixes and arrangements that stand Vasectomy - Storm Large & The Balls (with Jeff Buckley’s cover version, which came thirty years out- and, truth to tell, they are not among his best Remixes by Auditory Sculpture) later- an eerie cast spelling supernaturally in the work. Were this band to perform more original Self-Produced pall of Schreiner’s spooky mix. Hypnotic. Ghostly. material, then Schreiner’s idiosyncratic mixes would ooming large (as it were) upon the Th eir reading of Bad Brains’ ‘80s hit “Sacred Love,” still have to take a backseat to the real emotions Portland scene for the past three years is reverential, but in keeping with the acid drip mix being expressed in the song, ala “Shake It To Life.” or so, Storm and the Balls have taken the feel of the whole aff air. Bluesy. Moody. Th eir take on But with the tongue in cheek nature of the cover town Lby, uh… well, by force. Th e late 2003 release Johhny Cash’s “Long Black Veil” is given a Cowboy material, Schreiner’s darkling accoutrements seem of their album Hanging With the Balls, was met Junkies meets Portishead sort of treatment (with out of place and somewhat artifi cial. A kazoo, a duck with widespread acclaim by the public and critics, guest accompanying vocals from Mic Crenshaw of call and a slide whistle might be just as appropriate, alike. Storm (whose largeness is no hype, standing Suckapunch). Yikes! in this case. At least then, the ostensible humor in over six-feet tall, in her bare feet) simply smolders, Th e band interlaces strands of Kurt Cobain’s all of this would not be entirely lost. singing on a variety of hybrid cover songs, which are “Smells Like Teen Spirit” with “About A Girl,” in a bit chopped and welded more fi nely than an expensive, of a Nirvana mini-tribute. Beaton’s chunky wah-wah Piñata Baby - Th e Ditty Twisters stolen car. electric piano and a repetitive bass fi gure serve as Dirty Girl Records Th e band, comprised of former Sweaty Nipples the pinion for this spacey excursion into acid jazz, o you want to make your way in the bassist, Davey Nipples, Everclear keyboardist James with Storm’s vocal portraying the lead instrument. music world? You want to succeed? I’ve Beaton and drummer Brian Parnell, capably fuses Th e compounding of “Th e Star Spangled Banner” got one word for you. Swag. “Schwag” for smoky jazz elements with a laidback lounge feel, with Curtis Mayfi eld’s “Th e Pusherman,” from the the TeutonicS among you. Swag makes the world go through an amalgam of rock favorites, to create an Superfl y soundtrack, works better on paper than round. Swag can make the diff erence. Swag can open unique musical blend. With the benefi t of Storm’s it does in reality- with the national anthem being any door. Wanna get your band noticed? Swag. What makes a king out of a slave? Swag. What makes the “It is easy to understand why Storm Large fl ag on the mast to wave? Swag. has been a decidedly desirable rock commodity Now, heretofore, the fi nest piece of swag which I, personally, had ever received, was from the band for many years; since her days in the Bay area, in Bombay, who thoughtfully sent me a couple of the ‘90s, with Storm & Her Dirty Mouth.” bottles of Bombay Sapphire gin and a swell one-of- a-kind martini glass by which to imbibe. Fine swag. largely uninhibited stage demeanor, chock full of melodically wrenched nearly beyond recognition, Very fi ne swag. Th e cleverly named Ditty Twisters overt innuendo and subtly sultry double entendre, while the funk piece is impaired by misplaced arpeg- went that one better. the band fairly cooks live. The aforementioned giated string loops that don’t do much to further the From the Ditty Twisters I recently received a album managed to capture the musical allure of arrangement. A bit disjointed. More reminiscent, colorful piñata (promoting this here disc, Piñata the band, while lacking altogether, by defi nition, perhaps, of her earlier work with the Bay area acid Baby), chock full of various goodies and gewgaws. the visual appeal Ms. Large most defi nitely emits jazz group, the Broun Fellinis. Th is, I can assure you, to any critic on the face of within the live experience. Storm’s highly touted “stalker” version of the planet, is gold. It may not make him like your Here, however, the songs presented, culled Cheap Trick’s “I Want You To Want Me” seems not band. But rest assured, good people, he will listen from the Hanging With… sessions, are given the so much fi xated, as resigned, in its sense of despera- to your record. Keith Schreiner treatment: fl eshing out the inherent tion. However, when given the opportunity to cut Now, I retain a modicum of integrity, at this late sensuality within the material with his unerringly loose, vocally, in the denouement of the song, it is date in my “rock journalism” career. I’m not about to keen sense of voluptuary rhythmic contours and easy to understand why Large has been a decidedly review a band, simply because they send me unique melodic shades of sybaritic darkness. Th e ubiquitous desirable rock commodity for many years; since her swag (though it really can’t hurt). In this case, the Schreiner, who seems to be appearing on about two days in the Bay area, in the ‘90s, with Storm & Her band made my choice very easy. Th ey are not only recordings a month these days, lends his special Dirty Mouth. a lot fun, they’re great. Th eir second album release brand of techno mastery to the mix, creating a dark Not so strangely, one of the more successful is a hoot (their fi rst was 2003‘s Vicodin Saturday atmosphere of loops and phrases around the duskily tracks among the nine presented is the majestically Night). In fact, the material that Marie Murphy and tempestuous urgency of Storm’s delivery and the wraith-like “Shake It To Life,” an original number. company toss off is precisely the type of stuff that rapturous fog the sidemen impart. Storm’s vocal harmonies seem legitimately sung, Storm and the Balls ought to be checking out. Th e band specializes in the wry juxtaposition instead of electronically dubbed (although Schneider Th e Twisters’ songs are witty, pithy and raw, raw of songs within an arrangement, mixing Van Mor- does loop her voice in places), with a vocal melody raw; while the musicianship of the backing band is rison and Ministry on one track, Curtis Mayfi eld, worthy of Flora Purim in her Return To Forever impeccably tight. Frequently compared to the ‘60s

Page 8 - TWO LOUIES, Volume 26 Number 1, 2005 An Unreel World Board: 56 input Soundcraft Lake Oswego Studio (to get that warm british (503)639-9364 sound). Email: [email protected] Gear: Apple Macintosh G4 Owner: Karin Kopp 400mhz, 3 10 gig Seagate Cheetah drives, 120 gig Anonymous Noise fi rewire drive, Lacie, Yamaha (503)248-2136 and Pioneer CD/DVD burn- Owner: Karl Brummer ers, Masterlist & Toast cd Authoring soft ware, Power Apache Recording Studios Mac 8500, Yamaha NS-10 4009 E. 18th St. Studio Monitors, Midiman Vancouver, WA 98661 USB Interface, 2-Alesis 3630 Vancouver phone: (360)694-5381 Dual Channel Compres- Portland offi ce: (503)293-9266 sor/Limiter, 8 channels of Berhinger compression, 2 APA Studio Audio Technica 4033 Mic, Mollala, Oregon 2-AKG C1000’s, 2 CAD (503)730-5347 Equitek E-100’s, Audix F Owner:JR Boykin series drum mics, Shure Beta Engineer/Producer Smokey 52 Kick mic, Shure SM-58’s & SM-57’s, Borrar, David Hastings, Chris Howard, Wymer(503)760-3918 Audio Technica Pro 37R. Jessica Meshell, Steve Howell, Kevin Signal Processing: TC electronics 2290, Rates: New Band Demo special * 5 hrs Instruments: Alesis D4 drum module, King, Final Iteration, Lynn Ann Scott, Urei 1176 LN peak comp/limiter ,Urei for a hundred bucks*$30 hr additional Roland JV-1010 sound module, 88 key Leanna McIntire, Jerry Merritt, Steve LA3As, LA 22. Lexicon 97 Super Prime time. Yamaha P-80 keyboard controller, 5 Weed, Connie Windham, Darling Time Line DDL, Drawmer 201 dual Use our Pro Tools or Roland Ft Young Chang baby Grand Piano, gate, SX 201 and SE-400 parametric EQ. Mackie setups. 24+tracks. Sweet Mics Hammond C2 with 122 Leslie, Boss Big Red Studio 4 DBX 160X Compressor/Limiters. Ax & Outboard Gear. Use our engineers GT3 Guitar Processor, Roland Juno-1 Corbett, Oregon Compellor stereo compressor/leveler. or bring your own. Triton 88 worksta- keyboard, Korg 01W/FD, Fender P-Bass Producer/engineer: Billy Oskay Ax Type C exciter. Lexicon JAM man tion/sampler. Roland Vdrums. Fender Lyte Bass Guitar, Fender P-Bass Zone 2nd Engineer: Jordan Kolton DDL/sampler/looper MIDI setup with Cybertwin. Bass Guitar, Rougue Fretless Bass web site: www.bigredstudio.com Roland D550, R-8M, Korg M1REX,. Guitar, Fender Standard Strat, Fender e-mail: [email protected] Korg 800EX, Emu Proteus 2, OB Apollo Sound Productions Telecaster, Samik Electric Guitar with phone: (503) 695-3420 Matrix 1000, Yamaha TX81Z. “Defi nitive Source of Premier Sound” Floyd Rose, Taylor 314-CE Acoustic Unique package rates and fi nancing of Partial list of labels & artists: Wind- 971.226.6066 Guitar, Yamaha Classical Electrical projects. ham Hill, Narada, Sugar Hill, Hearts of Apollosoundpro.com Guitar, Fender Mandolin, Artisan Lap Facilities: 18 X 28’ performance space Space, Green Linnet, Nightnoise, John Steel, Rickenbacher Lap Steel, 5 Piece which can be divided for isolation. Ceil- Doan, Alasdair Fraser, Kevin Burke, Bartholomew Productions Yamaha Stage Custom Drum Set, Sabian ings vaulted to 17’. Martin Hayes, Hanuman, Johnny 33470 Chinook Plaza, Ste. 345 AA Cymbals, CP Bongo’s, AA Meini Yamaha C7D grand piano, C Fox Connolly, Alan Jones, Portland Acoustic Scappoose, Or 97056 Conga, Kalimba, Misc. Percussion Napa acoustic guitar, and 1902 Estey Guitar Summit, Dave Carter/Tracy Website: www.bartpro.com Instruments. harmonium. Grammer, N’ Touch Band, Rhythm Email: [email protected] or Clients: Best Buy, Suncoast Motion 17’ X 24’ control room Isolated machine Culture, Sugar Beets, Tom May, Jim [email protected] Picture Co, Th e Musicland Group, room Coff ee bar/Lounge area. Available Page, Gino Vanelli, Chris Lee/Colleen Phone: 503-543-7664 Payless Shoes, Justice Pictures, Hot organic catering. Horseshoes, campsites, Obrien, Cold Mountain, Steve Pile, Contact: Bart Hafeman or Mike Conner Potato Radio, SLAM, Th e Congregation, fi re circle and hiking trails on property. Taarka, Everything’s Jake, Beppe Gam- Service: Full service Production Roger Sause, Joe Plass, Bruce Carter, Sight-seeing, fi shing, restaurants, and betta, Dan Crary, Belinda Underwood facility from A to Z. Production Howard Clarke, Dean Christenson, lodging nearby. with David Friesen and Airto. services include: Writing, arrangement, Glenn Eastman, East River Fellow- Equipment: Otari MTR 90II 2” 24- engineering, producing, digital editing, ship, Wendi Daniels, Stevie Spaulding, Track with autolocator, Fostex 22 1/2” Blue Dog Recording mixing, mastering, CD duplication, Pam MacBeth, Doug Beisley, Clark at 30 ips 2 track, Mac G4, Pro Tools, 1314 NW Irving interactive and print design, Enhanced College, Village Baptist Church, Duelin’ Digital Performer, Otari MX5050 1/4” Portland, OR 97209 audio CD, interactive CD-ROM, Sopranos, David Bass, Jillyn Chang, 2 track, Panasonic sv 3700 DAT Naka- (503) 295-2712 band/Album collateral and web design. Brenda Fielding, Namesake, Unintitled, michi MR1, Tascam 2000 CD-RW. Email:[email protected] In other words, we do it all. Cris Beff ort, Kelly Carr, Christy Weber, From England, hand wired Trident TSM Web:www.bluedogrecording.com Musicians: We can supply top notch, in Brandon Mann, Tom Teutsch, Dana 40 input, 32 monitor, 24 bus. Th e sound Owner: Bruce Robertson house musicians for every instrument Rego, Owen Wright, Bill Perkins, Kirby is big, warm and very analog. you need. Grammy award winning Brumfi eld, Clark Bondy, McBride Monitors: Audix Nile V, JBL, Yamaha Ronn Chick Recording musicians upon request for your Middle School, Common Creed, Brian NS10s, Auritone and AKG, powered by 1209 NW 86th Circle project. Hunt, South Hills Church, Pulpit Red, Hafl er, Parasound and Oz Audio. Vancouver, Washington 98665 Format: Pro Tools TDM 64 track McCoy & Houge, McMullen Drilling, Microphones: Neumann U87s, 47s, (360) 571-0200 digital with tons of plug-ins such as: Western Seminary, Th e James Project, 49s, KM 88s, U 69s, KM 84s , custom Owner/Engineer: Ron Chick Waves, Antares Auto Tune, Focusrite, Brenda Sue, Scott Anderson, Stepha- modifi ed by Klaus Heyne Classic mics Equipment list: Recording: 48 input Filterbank, Beat Detective (When your nie Smith, Kevin Trout, Diana Blum, from RCA, AKG, Sennheiser, EV, Shure, amek angela,Mac G4 daul 850,Digital drummer needs some help), Bomb Peace Drum, Annie Graves, LMNOP, Beyer and Crown. performer 3.1 24 bit 5.1 ready,16 chan- Factory, Serato Pitch and Time, Virus, Royalty Wears Th orns, Simple Faith, Reverbs: classic EMT 140ST Plate, nels Alesis adat. Di Fi, TC Electronics, TruVerb, Maxim, VU, Joel Karn, Dave Karn, Leisure, St. with tube electronics, the only one in Monitors: Mackie. Big Bottom, Amp Farm, McDSP, VOCE, Helens High School, Sweet Baby James, the NW. Lexicon PCM 60, PCM 70, Vocal Align, Ultra Maximizer and tons David Michael Carrillo, James Schmitt, PCM 90. Yamaha SPX 900 multi-eff ects. more. Rick Fissel, Cascade Park Baptist, Kent MasterRoom XL305 spring ‘verb. Continued on page 14

TWO LOUIES, Volume 26 Number 1, 2005 - Page 9 Hit Record Focus cially conducive to creativity. Due to the acoustically accurate control room Console & Recorder with national credits and PMC monitors, Crossroads has also Racks of Broadcast Tube Gear become a favorite Mastering facility 7 ft. Grand...Hammond & Leslie used by other local studios. Large quiet tracking spaces Clients: Wayne Krantz, Bobby Torres, Gary Ogan, Jon Koonce, Anne Weiss, great mics Brett Williams, One Shot, Sky View HS, Continued from page 9 Prairie HS, Woodland HS. Outboard gear: Avalon. Focusrite,Cranesong, Symetrix, Dave’s Attic Productions Urie/JBL, Lexicon, Roland, Sony, TC Multnomah Village electronics. 503 349 7883 Mics: AKG, Audio Technica, Shure, www.davefl eschner.com Octavia. Dave’s Attic Productions is a full service, Client list:Network TV: Dark Angel digital recording studio. Over (wb)the Young And Th e Restless (Cbs), the past seven years, Dave has recorded Nfl Under Th e Helmet(fox), Th e Mattew some of the best talent in Portland Sheppard Story (nbc); in just about every style: rock, jazz, Cable TV: Inside Th e Nfl (hbo) country, hip hop, and classical Sportscenter (espn), True Hollywood chamber music. He also has experience Story (E!), Wild On (E!) Celebrity writing and recording for Profi le (E!); soundtracks, recording voice-overs, and Syndicated TV: Extra, Access Holly- transfering old tapes and records wood, National Enquirer, Th e Riki Lake onto CD’s. Show; Gear: Macintosh G4 with an 80 Gig Commercials: Jolly Rancher, Coors Hard Drive and Dual Monitor System Light, Event 20/20 Reference Monitors, Digital Whatever your needs, Ronn Chick Performer with numerous 3rd Party Recording is a full service facility Plug-Ins (16 simultaneous inputs, capable of providing demo recording, 24-32 track mixing), Tascam DM-24 orignal composition, digital editing, and 32 Track Digital Mixing Console, post production assistance for all your Fostex D-90 8 Track Stand Alone needs quickly and aff ordably.Please call Hard Disk Recorder, Fostex D-5 DAT for rates. Recorder, Selection of Neumann, Audio Guitarists, Bassists, Drummers, Singers Technica, Rode, Audix, and Shure Crossroads Productions Microphones, ART Tube Mic Preamps, CANCEL YOUR CLASSIFIED AD 7708 NE 78th St. Retrospect, Juice Box, Tube Direct Vancouver, WA 98662-3632 Box, Behringer Composer Compres- Meet musicians/bands (360) 256-9077 sor, sLexicon Reverb, Midi Timepiece looking for other players Web: www.crossroadsproductions.net AV for Syncronization to Video and Email: [email protected] SMPTE time code, Furman 6 Channel Studio Manager: Ron Stephens Headphone Mixer with remote mixing Studio Assistant: Danielle Jenkins stations, Sony MDR-7506 and AKG January Engineers: Paul Ehrlich, Craig Smith K240 Headphones, Hammond B-3 Tracks: ProTools HD 192 w/24 I/O and Organ with Leslie 122, Chickering Baby lots of plug-ins; Otari 2” 24 and 3M Grand Piano, Fender Rhodes Mark 26TH 1/2” 2 trk. 1, Wurlitzer Electric Piano, Ensoniq Equipment: Neve 5315 console; ASRX Sampler/Drum Machine, Roland LIVE AUDITIONS Focusrite, API, Manley and Altec VR-760 Keyboard/Synthesizer, Yamaha (equipment provided) mic pres; URIE, Spectra Sonics and TX81Z retro FM tone generator, Pearl Smart Research limiters; AKG, ATM, Drum Kit, Gibson and Ovation Guitars, Refereshments served CAD, EV, Microtech-Gefell, Oktava, Wurlitzer Accordian Last Tuesday of every month Rode, Tracy-Korby, Shure, Soundelux Clients Include: Rubberneck, Th e Kathy mics; Lexicon 960L, Eventide, and TC Walker Band, Warren Pash, Aloha High 6:30-9:00 PM Electronics eff ects. PMC and Yamaha School, Th e Dan Gildea and Louis Pain monitors. Call or write for exhaustive Trio, John Savage, Nick Measley, Th e, Register in our player’s database equipment list. Redeemers, Short Green Kick, Th e Big Instruments: Yamaha C5 grand w/ Dumb Animals, RAG, Dustin Olde, Gulbransen midi mod; B3 w/ 122 Leslie; Gary Burford, Th e Troutdale High Pearl and Slingerland drums; Vox AC- School Deep Root’s Project featuring 30, Gibson GoldTone, Rivera, Line 6 such artists as, Stephanie Schneider- guitar/bass amps. Too many synths and mann, Luther Russel, Mary Kadderly MIDI tone modules to list. and Nancy King, Seth Samuels and Dan Notes: Designed by Russ Berger, and Balmer, Funk Shui, Amelia, Bart Fer- built to his exacting specifi cations, guson, Colorfi eld, Jane Wright, Embra, Crossroads Productions is the area’s Sattie Clark, Purusa, Lara Michell, AC largest dedicated recording facility. Th e Cotton, Ezra Holbrook, Th e Country- distraction-free environment is espe- politans, Nicole Campbell, Baseboard

Page 10 - TWO LOUIES, Volume 26 Number 1, 2005 Heaters, The American Girls, The Bella PC88 MX, Ensoniq EPS, Opcode Studio Fayes, Jerry Joseph, Pete Krebs, Kim 3, JL Cooper PPS-100, dk10 KAT, Alesis Stafford, Kerosene Dream. D4, Pre CBS Fender Super Reverb, Apollo Sound Productions Rates: $30 Per Hour, Block Rates Avail- Zoom 9050, JVC CR-85OU 3/4” video able deck w/SMPTE address trk., Sony “The De  nitive Source of Premier Sound” video monitors 13” & 20”, Fostex 4010 Dead Aunt Thelma’s Studio SMPTE, Symetrix TI-101 phone patch, PO Box 82222 Telos Zepher ISDN patch & a Braun 10 Full Production Recording Studio Portland, OR 97282-0222 cup coffee maker. (503) 235-9693 p Clients: Sony, Disney, PBS, Mason (503)238-9627 f Williams, Beth Singer, Justin King, • Recording Web: www.thelmas.com Sugar Beets, Paul Chasman, Byron Studio Manager: Mike Moore Berline, Strangers, Multiple Sarcasm, • Mixing Office Manager: Nicole Campbell Betmars, Babe’s with Axes, Terry Robb, Owners: OCP Publications David Jacobs-Strain, T.R. Kelley, Debbie • Mastering Diedrich, Boogie Patrol, Tracy Bonham DeFunk Audio/Sonare Mastering & many more-check out web site music • Graphic Design 4531 N. Albina Street client list at www.donrossproductions. Portland, Oregon 97217 com. • Photography (503) 288-3353 Email: [email protected] Falcon Recording Studios • Producing Owner/Engineer: Sean Gilbert 15A S.E. 15th Doctor Digital; The Sync Ward Studios Portland, OR 97223 • Engineering Portland, OR (503) 236-3856 (503) 892-0043, 1-888-373-4485 Fax: (503) 236-0266 Email: [email protected] Email: [email protected] Owner: Mark Frethem Contact: Dennis Carter.

Don Ross Productions Freq. Mastering 3097 Floral Hill Drive 1624 SW. ALDER #311 Eugene, OR 97403 PDX, OR. 97205 (541) 343-2692 Fax: (541) 683-1943 (503) 222.9444 for more information call 971.226.6066 or visit us at Email: [email protected] Web: www.freqmastering.com www.Apollosoundpro.com www.donrossproductions.com Portland’s Pro Mastering Studio Owner/Engineer: Don Ross Contact: Ryan Foster Tracks: 32 track Digital, 24 track Analog Equipment: Sadie Artemis 24/96 Rates: $70.00-$85.00 Mastering System, DCS904 24 bit A/D Equipment: Otari MTR90 II 24 track & DCS954 24bit D/A both 192KHZ & 2‰ Analog, Digidesign Pro Tools Mix DSD capable, Apogee1000 A/D & D/A, + w/ 3-888 24 I/O’s, SSD, Waves gold Cranesong Hedd 24 bit A/D &D/A , bundle, Bomb Factory, Meek & many GML 9500 5 band Mastering EQ, Weiss September other plug ins, 24 trk. Tascam DA-88’s- EQ1 MK2 digital 7 band parametric, mods by Audio Upgrades w/RC 848, Manley Vari-mu stereo compressor, SY88 & IF88AE, Tascam DA30 MkII, Weiss DS1 digital split band dynamics Fostex D-10 Time code DAT,Tascam processor, Maselec stereo compressor, CD-RW5000 CD recorder, Revox PR-99 Genelec monitors, Mike Spitz ATR 100 Audio MkII & B77 1/2 track analogs; Tascam 1/2” Mastering deck, Tascam DA 45R M-3700 32x8 automated console 24 bit Dat Machine, Panasonic 3800 Dat w/mods by Audio Upgrades; Genelec machine, Dennon cd player, Dennon 1031,Tannoy NFM 8, Yamaha NS-10, cassette decks, Mytek digital Mastering 24 Track / 24 Bit & Auratone 5C monitors; Aiwa, & meter, Z-Systems 16 i/o digital router. Tascam cassette decks; Lexicon PCM Clients: Sony, Loosegrove, Sub Pop, Location Recording Package 80, TC M2000 LXP-1’s, LXP-5’s w/MRC Astralwerks, FT Records, Resistor, & Yamaha SPX90’s reverb/delays; Shortwave Records, Estrus, Elemental, Manley ELOP, Manley Vari-Mu, Aphex T/K Records, Top Secret, Darla, Rain Performance Showcase 661’s,106, & 720 Dominator II, Draw- Records, Burnside Records, Jus’ Family Location Album Tracking - Project Pre-Production mer DL24, Ashly SC-50 comp/limit- Records, Bombay Records, M.A.H. ers; BSS DPR-504 & Aphex 105 Noise Records, Empty Records, Dohnut Gates; Aphex Aural Exciter, Aphex 109 Records, Rainforest Records, Cool we bring the studio to you & Symetrix SX201 parametric EQ’s; Nutz, Satan’s Pilgrims, Jesus Presley, Avalon 737SP’s, Millennia HV-3C, Silkenseed, Chata Addy, Gino Vanelli, Neve 1272’s (4), Peavy VMP-2, Gaines Land of the Blind, Ken De Rouchie Your Place... Your Time... Your Music... MP-2 mic pre’s. Mic’s: Neumann U87’s Band, Hungry Mob, Life Savas, Live at (mods by Klaus Heyne), KM84’s(mods Laurelthirst, Izaya, Heavy Johnson Trio, www.septaudio.com/location.html by Kaus Heyne), Lawson L-47MP tube, Daylights, Hummingfish, Kerosene AKG 460’s, 451’s, Sennheiser MD 421, Dream, Loveload, Jollymon, Gus Van or EV RE20, 408B’s, Shure SM7’s, SM53’s, Sant, Systemwide, Grindstone,Floater, & 57’s. Other Important Stuff: 1927 Call Craig 503.295.1277 Steinway M grand piano, Kurzweil Continued on page 14

TWO LOUIES, Volume 26 Number 1, 2005 - Page 11 An icon among us… from On A Llama and most recently three years the Oregon Department of Revenue and $120,000 gigging with Animotion (“Obsession”). “I’m the in credit card debt. Th e fi rst Guitar Institute of Technology gradu- only replacement, all the other players are original More Willie Nelson than Kurt Cobain… ate to become famous was a female. She entered as band members.” Art is a lightweight; Willie owed 16.7 mil- a student in 1979 and joined the staff aft er gradu- Familiar from the beginning of his musi- lion. ation. Th e GIT curriculum was the invention of cal career with female front-people, Kevin says Nelson went with the image, doing a Super- Los Angeles studio guitarist Howard Roberts and playing with Jennifer Batten has been something Bowl commercial for H&R Block and releasing a formulated to give a player the basic skills needed entirely diff erent. “I spent years trying to make Lea double-album entitled “Th e IRS Tapes – Who Will to be a professional guitarist. Krueger famous, this time around there’s none of Buy My Memories” with all proceeds going directly One skill is auditioning… the drama”. to the IRS. He was paid off by 1993. In ‘87, Michael Jackson was at the peak of “At the World Guitar Congress all the other Unlike Art, who sprang from Cali, Willie his popularity and mounting the worldwide “Bad” players came over to give Jennifer her props. It’s an recorded his fi rst single (“Lumberjack”) and sold tour. He auditioned over a hundred guitarists honor to play with her. She kicks my butt.” his fi rst song (“Family Bible”) in Portland in 1956 before Jennifer Batten got the gig. Kevin says the benefi ts of playing behind a when he worked at a radio station in Vancouver, Jennifer could shred with the best of ‘em. world famous guitarist include an endorsement Washington. Her musical choices were impeccable and her deal with the Spaun Drum Company in San two-handed tapping technique rivaled Eddie Van Dimas, California. “I saw Spaun drums at the ’98 NNN Halen. NAMM Show but they were way out of my price Sound wave Tsunami… Guitar For the Practicing Musician put out a range. When I started playing with Jennifer Dan Billboard Magazine, January 22, 2005. “Th e compilation of promising players and her cover of Pred (Dan Reed Network drummer) sent them a prospect of the last remaining manufacturer of John Coltrane’s “Giant Steps” was the runaway hit video he produced and they sent me my dream analog audio recording tape ceasing production and the “scariest” track on the album… set of drums”. sent tremors through the recording industry, as Michael Sembello (Stevie Wonder) pro- Crushed glass fi nish. audio professionals considered the demise of a duced Batten’s debut solo album, “Above, Below “Sparkles like diamonds under the lights” says recording format that, though long in decline, is & Beyond” Kevin. His endorsement is the top news story on still revered for its sonic characteristics.” Michael Jackson hired her for another couple the Spaun web site. “Spurred by news of the plant’s closing, of years for the worldwide “Bad” tour. Th ey played Th e current JBatten Band consists of Rankin engineers and producers have rushed to procure the half-time segment of Super Bowl 27 to the on drums and Sean Foote (Linda Hornbuckle) tape from suppliers and other sources, including largest audience in the history of television; one- on bass. Internet auction site eBay.” and-a-half billion viewers. Th ey play the Crystal Ballroom February 13th In ’97 she went out with Jackson for the third and Sabala’s Mt. Tabor Th eater February 26th. Th e NNN time on the “HIStory Tour” and released her second new Jennifer Batten album “Off Th e Deep End” is And no more Songpluggers.... solo album “Momentum”. due in the Spring. Indie record promoters took a huge hit over In ‘98 Jeff Beck invited her to join his band the holidays when Infi nity Broadcasting, owners for touring and recording. She’s on his ’99 album Kevin kept the “Obsession” gig… of 180 radio stations in 22 of the largest markets “Who Else” and 2001’s “You Had It Comin” across the country issued a new promotion edict . “Th e morning aft er the Crystal show with banning the independent promotion of songs at all Th en, the Jeff Beck band played Portland… Jennifer, I fl y out for a gig with Animotion. Tommy of its radio stations. Tutone is opening on the tour, which means I’ll be The policy bars station managers from Th e group got a day off , Jennifer wandered playing drums for both bands,” says Kevin. associating with independent promoters, trade around long enough to fall in love with the city and Spaun is getting their money’s worth.... tip-sheet publications or promotion companies in early 2004 the world famous GIT grad took up that sponsor contests in which program directors residence in Sandy, Oregon. NNN could win prizes. In June of 2004 Emilia Segovia organized the Art’s broke… Th e move came weeks aft er New York Atty. World Guitar Congress in Baltimore and invited Th e Art Alexakis Going Bankrupt story actu- Gen. Eliot Spitzer’s offi ce served subpoenas on esteemed players from all over the world includ- ally gives hope to aspiring local musicians, aft er Sony BMG Music Entertainment, Universal Music ing Jennifer, Les Paul, Dick Dale , Eric Johnson, all, how much money do you have to make to owe Group, EMI Group and Warner Music Group, John Hammond, Richie Havens, Albert Lee and millions in taxes? seeking copies of all e-mails, letters, contracts, and Andy Summers. A ton. other correspondence between the fi rms and the Batten needed a band… According to the California Chapter 11 fi ling industry’s leading independent promoters. Enter drummer Kevin Rankin, early on Art owes the $2.75 million federal tax bill for the In 2003, Th e Los Angeles Times reported years 1999, 2001 and 2002, another $230,000 to that “Michele Clark, an independent promoter,

Page 12 - TWO LOUIES, Volume 26 Number 1, 2005 paid thousands of dollars to Portland’s KINK-FM, Camaro Hair frontman Jason Demain’s new Capitol album is in the can and the DVD of DIG! which is owned by Infi nity Broadcasting, aft er the band featuring EC bassist Craig Montoya plays the comes out in April, Just in time to push it over the station added songs she had pitched.” Ohm February 5th. Recording also begins in Febru- top. Also on the Mercy Corps bill are Th e Out Th e kick-back link… ary. Demain says early promotion surrounding the Crowd, Durango Park, The Upsidedown and band has created some hard feelings. Colin Meloy…Across town that same night Jan NNN “Tri-Polar is defi nitely still together and Craig 28th pulse PDX holds another benefi t for Mercy Ideal indie… is defi nitely still with them…he’s just doing two Corps at the Bossanova Ballroom with a show- Aft er three months, Pink Martini’s second projects. I guess his band mates got a little ticked case of music, video and fashion featuring Sean album continues to bubble under Billboard’s Top that rumors were spreading.” Flinn, Area 54 and local designers… Stephen 200 charts, climbing again on the HeatSeekers chart In his latest posting on the TriPolar web site Malkmus has completed “Hamburger Serenade” to #24 with a bullet (1/22/05). Montoya doesn’t exactly clear things up… headed for a May release. Malkmus says he plans to play South By Southwest with a “weird unit”… SxSW in Austin, March 11-20 features a keynote address by Robert Plant and an interview with Lou Reed. Conference propaganda features a picture of “Sleater-Kinney (Portland OR)”…Portland’s Grammy hopes are riding on the shoulders of Mark Hanson and Doug Smith, nominated for their Best Pop Instrumental Album performance on “Pink Guitar” a solo guitar album of Henry Mancini tunes. Th ey’ll be attending the Awards Show Febru- ary 13th…Deb Cleveland featured on OPB’s Oregon Art Beat Th ursday January 20th and again Sunday January 23rd. She plays with the Vipers January 28th at the Cozmic Pizza in Eugene...Jennifer Lynn CD Release Party for “Leavin’” at Conan’s Pub January 22nd…Terry Currier back at the podium accept- ing Millennium’s Keeping the Blues Alive Award February 5th in Memphis. Th e Blues Foundation says “In an era of large, corporate music stores without soul or identity, Music Millennium is a reminder of that old school atmosphere of buying music most of us remember”…the Foghorn String Band signs with Nettwerk Records home of Sarah McLachlan and Avril Lavigne …Scott Fisher at Millennium NW February 8th at 6PM. Scott and Sound Impressions producer Dan Decker produced the 4 tracks in French and English that scored the gig at the Olympic Winter Games. Scott photo Buko Jennifer Batten and Kevin Rankin aft er the show at Roseland Grill. showcases at the Viper Room in West Hollywood Aft er twelve weeks on the chart “Hang On “We suck at recording but we are doing the January 30th and returns to Dante’s February 11th Little Tomato” is #29 with a bullet on the Top best we can with what we have…we are not sure for a CD Release Party…Man Of Th e Year in LA at Independent Albums. if we are gonna put all the songs on the record or the Echo January 22nd and back at the Meow Meow Th e band will perform with the Seattle Sym- just release a demo.” January 27th…Chris Mayther Band at the Buff alo phony January 20th, the Kansas City Symphony No wonder the band mates are ticked… Gap February 19th…John Bunzow there February January 22nd and a four-night stand with the Fort 25th…Dr. Th eopolis at the Goodfoot February 12th Worth Symphony January 27-30th. NNN and the Dublin Pub February 19th…Leigh Marble’s March 4th it’s Paris and April 2nd London. THIS JUST IN…Get a load of some of the new album “Peep” gets a glowing review in the new material coming from the Dandy Warhols January issue of West Coast Performer. Reviewer NNN January 28th at the Roseland when they headline Nate Seltenrich says the “Outlaw” Marble is “No Clearly a hairy situation… the Mercy Corps Tsunami Relief Benefi t. Th e new passive folkster wuss”… LL

TWO LOUIES, Volume 26 Number 1, 2005 - Page 13 Gung Ho Studios 86821 McMorott Lane Eugene, Oregon 97402 (541) 484-9352 Owner: Bill Barnett

Haywire Recording Southeast Portland Continued from page 11 P.O. Box 66381 PDX OR 97290 Countrypolitans, Here Comes Every- 503-775-7795 body, Mel, E-40, Sally Harmon, Rattling Email: [email protected] Th under, Dickel Bros, D.B.A., Ras Kass, Web: http://www.haywirerecording. Kurrupt, B-Legit and many, many, com more.(Please check out our website for a Engineers: Robert Bartleson more complete list). Tracks: 8/16/24 tracks, Analog or Digital Fresh Tracks Studio Services: Live & Remote Recording, 1813 S.E. 59th Free-Lance, Engineering and Portland, OR 97215 Producing, In-house Studio Recording, (503) 235-7402 CD Mastering Email: [email protected] Specialties: Remote Recording & Web: http://www.freshtracksstudo.com Producing Owners: Jon Lindahl Rates: Live & Remote recordings: indi- Engineers: Jon Lindahl and Casey Spain vidual quotes; 24-track recording: $25/ Tracks: 32, 24, 16, & 8 ( 24 tracks hard hr or ask about block rates. Freelance disk) 16 tracks of digital & 16 tracks of engineering $25/hr + studio costs. analog) Equipment: Compressors; GML 8900 Rates: $40 for 32 track, $35 for 24 track, stereo peak limiter, Urei 1176 compres- $30 for 16 track, & $25 for 8track. sor/limiter, (3) DBX 160x compres- Equipment: 2 each XT Alesis ADATS, sor/limiters. Analog 1” MS-16, Hard Disc, Cubase Microphones; Neumann U48 tube w/Mark of the Unicorn 2408 (Multi mic, (2) Neumann KM 84, (2) AKG Track recorder/automation/remaster- 414 ULS, (2) AKG 460, AKG D112, ing), All synced via JL Cooper Syncron- (6) Shure SM 57, (4) Sennheiser 421, izer, Pansonic CD Burner, 24x8x2 Beyer M260 Ribbon, Shure 55s. Tape MORE VIBE. Soundcraft Mixing Console, ART MPA Machines; Panasonic SV3700 DAT, dual tube mic pre-amp,DBX 266 Dual Tascam 48-B 1/2” 8 Track Recorder, (2) Compresor/Gate,DBX, 160x, DBX Tascam DA88, Tascam 122MKII cas- LESS JIVE. 163x Compressor, Dbx163 Compressor, sette deck. Eff ects; Lexicon PCM 42, Biamp Quad Limiter/Gate, DBX 463x Yamaha SPX 900, Yamaha SPX 90, Tired of getting the glad-hand runaround from the Gate, Yamaha 31-band EQ, Biamp Dual SONY MPS, Huges Sound Retrieval chain store guys? At Tigard Music you can take the 10-band EQ, Rockman Guitar preamp, time to pick our brains, experiment with different System. Misc: 8 Channels of API 550A WE WILL Rockman Stereo Delay/Chorus, Roland EQ‚s, (2) Neve split Mic Pre/EQ, V/T sounds, and generally shoot the bull with a staff of MATCH � ANY SRV Reverb, Roland SDE 1000 Delay, Tube DI. Amplifi ers; Ampeg Portafl ex seasoned professionals that are actually interested PRICE � ON ANY LOCALLY Art SGE Mach 2 Eff ects Processor, B-15 bass amp, 60’s black face Fender in you becoming a repeat, long-term customer. ADVERTISED ITEM! Alesis Midi Verb, BBE 802 Exciter,JBL Pro - Reverb, 1973 Marshall JMP head 4311 Monitors, Auratone Monitors, with 60’s Cab, Vox Royal Guardsman, KLH Monitors, Panasonic 3700 Master- Vintage Supro Guitar amp. Monitors: ing Machine, Otari Analog 1/2 Track Yamaha NS-10 Studio. Mastering machine; wide selection of Clients: Wilco, Skiploader, Desert City mics: (AKG, RODE, SENHEISER, E.V., Soundtrack, 30.06, Eric Mathews, SHURE, BYER, AUDIO TECHNICA) Pond, Adam Wade, Scribble, Slackjaw, MIDI EQUIPMENT: Mac G-4 w/ Suplex, Woke Up Falling, Avenue of Th e CUBASE VST 32 5.1 Proteus 1 Sound Strongest, Pedro Luz, Andi Camp, Jen AUTHORIZED DEALER FOR Module, Yamaha TG100 Sound Module, Wood, Trophy Wife, Gruesome Galore, Zoom RT -123 , ESQ-1 Tommy Tutone, Everclear, Audio Keyboard, Casio Midi Guitar Learning Center, Mel, Petal, Intifada, MUSICAL INSTRUMENTS Clients: Vivian’s Keeper, LaRai, Fran Flophouse Palace, Loligo, Th e Reports, • Amps • Accessories • Music Books Gray, Brock Noyes, Genevieve Goodell, Th e Kremlin Bronx. • Repair • 30 Day Price Guarantee John Myers, John Hoff man, David Graham, Poison Okies, Jonathan Intersect Sound, Inc. Berman, Al Pasque, Marc Hansen, Portland, Oregon Sidekicks, Little Joe, Cory Brunish, 503-649-7741 Dixie Party Jazz Band, Bill Deiz, Enuf, E-mail: [email protected] Fred Meyer Shopping Center on Pacific Chris Harris, Kevin Johnson, Al Pasche, Web: www.geocities.com/intersect- Highway in Tigard John Skank, Savy, Ken Vigil, Th e sound SINCE Worthingtons, Les Ouvier du Christ, Owner/Engineer: Bill M. Cushman 503-620-2844 1976 and Christine Young. Intersect Sound Inc. specializes in PA Mon-Thu 10am-8pm, Fri & Sat 10am - 6pm System Rentals for festivals, small bars 113596701

Page 14 - TWO LOUIES, Volume 26 Number 1, 2005 & clubs, civic functions, church & com- comOwner: Bob Crummett munity events, private parties & dances, Contact: Kris Crummett & DJ shows. ISI also provides live sound Engineers: Bob Crummett and Kris production, recording and mastering Crummett with post-production and studio work. Rates: $25 an hour. Sound Engineers are available. Tracks: 64+ track Protools, 16 track Rates: PA System rentals go out as a adats, 2 track Dat. unit, engineer included—see website or, Equipment: Digidesign Protools HD1, contact [email protected] or Alesis Adat XT, Alesis Adat XT20, Sony phone 503.649-7741 anytime for voice PCM-R300 Dat, Mackie 24/8 Console, mail. Or between 1:00 pm and 6.30 p.m. Mackie HR824 Monitors, ART Pro to speak to a person. VLA Tube Leveling Amp, ART Tube For Live Sound recording: 1-2 Alesis MP, ART Quadra/FX, ART 355 Dual Adats are available. The tracks are then 31 band EQ, Avalon U5 DI, Deltalabs mixed down and mastered to DAT. The AcoustiComputer, Hughes & Kettner turnaround time is usually two weeks Tubeman DI, Line 6 Bass POD, Preson- and the cost starts at $200.00 for the ous Digimax, Various Stompboxes, whole package. I also do studio work Waves Gold (all), Bombfactory (all), (subject to availability) at the rate of McDSP (all), Anteres Autotune, Digi- $20.00 per hour. Design RTAS (all), GRM Tools (all), Equipment: For PA System Rentals: For Metric Halo Channelstrip, Duy (all), example PA system “A” consists of the T-Racks, Focusrite RTAS (all), Kind of following: Console: Soundcraft Spirit Loud Realverb, Raygun, Serato Pitch 16x4: Signal processing: Yamaha Rev-7, and Time and more. Midiverb 3, BBE sonic maximizer 322, Mics: AKG D112, AKG D12E, Audio Aphex aural exiter type B, 2 Alesis 3630 Technica 4033sm, Audix D1, Audix D2 dual compressor/gates, JBl m644 4 (2), Audix D4, ElectroVoice 627b, Elec- channel gate, DBX 1231 dual 31 band troVoice N/d 767a, Groove Tube 6tm 1/3rd octave eq, 2 Alesis Meq 230 dual (tube mic), Modified Large Condensor 31 band octave eq, Fender pcn-4 stereo Mic (2), Shure SM57(3), Shure Uni- 3 way cross-over. Speakers: 2 JBL active sphere PE56D-CN, Superlux CM-H8D mid-hi packs, (l 15” & 1 2”: driver with (tube mic). 1” horn each) 2 JBL active subs, (2 15’s, Instruments: Tama Starclassic Per- front firing & ported each), 4 floor former Drumset, Roland TD-7KE wedge monitors, (1 15” & 1 2” driver Electronic Drumset, Various Percus- with 1” horn each), 1 Yamaha drum fill, sion (congas, bongos, and whatnot), (1 15” & 1 “ driver with 2” CD horn), Musicman Stingray Bass, Alesis QS6 Microphones: 4 Shure sm 58, 6 Shure Keyboard, Rhodes Mark II 73, Marshall sm57, 4 Audio technica pro 10, 1 Audio Lead 12, ART 80/80 Head, Marshall technica pro 25, 1 Shure beta 58. Amps JCM 900 4x12 Cabinet, Crown Acoustic used include: Crest, Crown, Yamaha, 12 String, Gilbert Baby Grand Piano. SLM-RMA series & Yorkville AP series. Clients: Sarah Blaisedale, Cascade Blues (depending on system configuration Association, Crosstide, Delivery, John and power demands) Miscellaneous: Densmore, Doyal Tankington, Laura 4 ISI di boxes 1, Lawrence accoustic Duzette, Bryan Free, Jefferson Institute, guitar pickup, Fender m-80 pro guitar Kinzel & Hyde, Christopher Marshall, amp w/4-12” cabinet, Big muff II Wayne Meichsner, Mindset, Mute, Distortion Pedal, MXR distortion pedal, Mykel, Nice Richard, Tom Noeson, Digitech “talker” voice-synth pedal. Oliver, Postal, Random Electronica, Clients include: Dfive9, Hell Candi- Regenerator, Saturday Night Jazz Band, dates, Jen Lane of Barfly Magazine, Til- Screamin Willies Dixieland Band, Stela, lamook County Fair in association with West of Zero, and more. Starshine Sound, Rorschach Test, Stage Phryte, The Natrons, Witch Mountain Jackpot! Recording Studio and many other locals. 1925 SE Morrison ALL SERVICE MUSICAL Other: Bill Cushman is House Engineer Portland, OR 97293 at Club Satyricon and he invites you (503) 239-5389 ELECTRONICS REPAIR to come in and say hello. As owner of [email protected] Amps, Keyboards, Pro-Audio, Multi-Tracks, & More Intersect Sound, he guarantees reason- www.tapeop.com able rates, professional service and well Owner: Larry Crane AMPEG•CRATE•FENDER maintained gear—delivered, operational MACKIE•LINE 6•MARSHALL and on time! J.A.S. Recording KORG•PEAVEY•SWR P.O. Box 884 TASCAM•ROLAND•YAMAHA Interlace Audio Production Beaverton, OR 97075 AND MANY OTHERS 457 NE Birchwood Dr. (503) 274-2833 • Factory Authorized • Fast, Friendly, Dependable • Hillsboro, OR 97124 Owner: Andy Strike 503-681-7619 503-231-6552 Email: [email protected] 617 SE Morrison Website: http://www.interlaceaudio. Continued on page 16 www.all-service-musical.com

TWO LOUIES, Volume 26 Number 1, 2005 - Page 15 Nettleingham Audio 888-261-5086 / 360-696-5999 Vancouver, WA (just minutes from downtown PDX) Internet: http://www.nettleinghamau- dio.com Email: [email protected] Services: CD Mastering, CD Replication Continued from page 15 & short runs, graphic design, editing, KAOS Recording, Mastering & CDR etc… Duplication Specialties: CD Mastering/CD Replica- Portland, OR tion/Short-Run CDs (503) 287-5066 Engineer: Kevin Nettleingham Owner: John Belluzz Tracks: 128 Track Digital Hard Disk Rates: $60.00 per hour / 100 CDs - $225 Kung Fu Bakery / 1,000 CDs - $1,180 Portland, OR Equipment: Digital Audio Workstation: (503) 239-4939 Digidesign Pro Tools | HD3 24 bit & Owner: Tim Ellis, Dave Stricker, Ron sample rates up to 192kHz, Soft ware Spencer Version: 6.2.2, Audio Hard Drives: 306 gigabytes, Computer: Macintosh G4 800 Lemon Studios and Walter Midi w/dual monitors (cinema display and www.lemonstudios.com 20” VGA), RAM.: 1,256 megabytes 1424 SE 162 Portland OR 97233 AD/DA: Cranesong: HEDD (Har- (503) 761-0964 monically Enhanced Digital Device) Jon Lemon - Owner and Chief Engineer 24 bit AD/DA converter, Digidesign: Email: recordingstud@lemonstudios. 888/24 24 bit AD/DA converter, Waves: com L2 Ultramaximizer 24 bit AD/DA Setup: 2200 square feet of top-of-the- converter line mics, preamps, keyboards and other Analog Processing: GML 8200 Paramet- musical goodies. Featuring Pro Tools ric Equalizer, HD and a 1996 Steinway Model B 7’ Crane Song: STC-8 Discreet Class A grand piano. Please call for rate and any Compressor Limiter, Empirical Labs 2 x other info. Distressors with British Mod, Mic Pre- Recording and Mixing: Pro Tools HD; amps: Cranesong: Flamingo 2 channel Alot of Adats; Yamaha O2R digital Discreet Class A mic pre, Focusrite; Red mixer One 4 channel mic pre, Summit; TPA- A Few Preamp: Manley VoxBox; (6) 200A Dual Tube mic pre, Night Pro; Manley dual mono mic pres; Manley PreQ3 4 Channel mic Photos El-Op leveling amp; (2) Drawmer 1960 Digital Processing: Cedar: De-clicker, pre/compressors; Langevin dual vocal De-crackler, De-hisser, De-buzzer, combo Waves: L2 Ultramaximizer, Platinum A Few Keyboards: Steinway Model B Bundle, DigiDesign; ReverbOne, Serato; 7’ grand piano; Hammond B3 with Pitch-n-Time, Antares: Autotune, Line Leslie 122; Fender Rhodes suitcase 6: AmpFarm Digital Routing: Z-Sys- piano; Korg Triton, Triton rack, Trinity, tems: 16x16 AES Digital Detangler Pro MS2000R, etc.; Roland 5080, 1080 JP- Syncronization: Aardvark: AardSync II, 8000, etc.; Quite a few others including Sync DA 503/282-1682 Nord Lead and E-mu Virtuoso 2000 Data Back-up: Exabyte: EXB-8700LT Some recent clients: UNIVERSAL and 8mm www.buko.net 2WAY RECORDS recording Artists CD Recorder: Plextor 8/2/20 Sassey and Ghetto Romeo; Johnny Monitors: Meyer Sound HD-1 High Limbo and the Lugnuts; Th e Stragglers; Defi nition Audio Monitors Brenda Baker; Duelin’ Sopranos; Bas- Metering: Waves: PAZ Pscychoacoustic soon Bros; Cool Nutz and Jus’ Family Analyzer Records; Hog Whitman; Sawtooth 2 Track Players/Recorders: Tascam: DA- Mountain Boys; Jeff Hudis (Hudis 45HR-24 Bit DAT, DA-30 MKII DAT, James); Madgesdiq; Carolyn Kardinal; & CDR2000 – CD Recorder/Rewriter WE Side Records; Kant Be Caught; DJ - Nakamichi MR-2 Cassette, Vestax: OG One Productions; Kathy Walker BDT-2500 Turntable Band; D-Five-9 Microphones: Soundelux: 2 x U95S - Microtech Gefell: UMT 70S -, Royer: 2 Lion’s Roehr Studio x R-21 - Neumann: 2 x KM-184 - AKG: 5613 S.E. 69th D12e , Sennheiser: 3 x 421, 441 - ADK: Portland, OR 97206 2 x A51s - Shure: 2 x SM-57, SM-7 (503) 771-8384 A Few Of My Clients: Oregon Sym- Email: [email protected] phony • Obo Addy • Deep Elm Records Owner: Mike Roehr • Alfredo Muro • Lew Jones • Bart Ferguson • Norman Sylvester • Paisley

Page 16 - TWO LOUIES, Volume 26 Number 1, 2005 Pop Records • The Mel Brown Quartet • Politicans, The Blues Broads, Hydro- The Divided • Desert City Soundtrack • ponic, Morse Code Heartbeat, Divine MUSIC MILLENNIUM Randy Porter • Bobby Torres • Slackjaw Noise Asylum, Patrick King, Naked • Duffy Bishop • Trophy Wife • Mt. Todd, Step Beyond Deception, Lipid, Hood Jazz Band • Assisted Living • Spindrift, Kaddisfly, Fusion Ball, Whis- 31 Knots • Starter Kit • The Jimmies key Sinner, Chapter’s End, • Woke Up Falling • Johnny Martin • Redline6, Hot Boxed DFiVE9 • Gruesome Galore • Catholic School Girls • 5 Guys Named Moe • 44 Northstar Recording Long • The Martindales • The Cow Trip- 13716 S.E. Ramona pers • Thy Infernal • Renato Caranto • Portland, OR 97236 The Bassoon Brothers & a lot more! (503) 760-7777 Fax: (503) 760-4342 Owners: Scott James Hybl, Curt Cass- No Moving Parts ingham S.E. Portland (near Laurelhurst) 3 5 YEARS OF MUSIC (503) 234-6410 O in Eye location recording EAST PORTLAND NW PORTLAND 32nd & E Burnside 23rd & NW Johnson Web: www.nomovingparts.com 4430 SW 107th AVE. 503-231-8926 503-248-0163 Owners: Mark/Michele Kaeder Portland OR 97005 Engineer/Producers: Mark Kaeder (t):503.626.9988 Tracks: 32 I/O Harddisk Recording (c):503.310.7682 Equipment: Recording: Yamaha O1V Email: [email protected] Digital Mixer, Logic Audio Platinum Web: www.oineye.com HDR software (running on a 1.0 GHz Owner/engineer: Chris Anderson Intel PIII with 512 megs of ram and Tracks: 24 track Digital Hard Disk 80 gigs of storage), Dual Creamw@re Rates: $20 per hour with negotiable Pulsar 96/24 DSP, Synthesis/Mixing package specials available. O in Eye platform (too many other audio pro- currently has 2 “limited budget” minded grams to list) , Outboard: True Systems packages available for new ‘Precision 8’ eight channel mic preamp, projects seeking to get a live demo out Lexicon MPX-1 multieffects processer, quickly or record a single; email ART Pro MPA tube mic pre, ART Pro or call for details. VLA optical tube compressor, DBX “Single” Special: $100 1 song/instru- 1066 stereo compressor/limiter/gate, mental recorded with all necessary over- DBX Quantum Mastering Compressor, dubs: tracked, edited, mixed, mastered, Otari MTR-12 1/4” Mastering Deck. and burned to a CD in a 8 hour period Monitors: Sundholm V8’s, Mackie (same day) for $100. Recorded in your HR824 reference monitors, Yamaha basement, garage, or wherever your NS-10 reference monitors. Synthesis: rehearsal space is you will have a CD in Roland XP-80 MIDI workstation , Enso- your hand by the end of the day. SHOWCASE niq ASR-X sampler, Alesis D-4 MIDI “Live Mix” Special: $100 This special drums. Condenser mics: Soundeluxe entails two phases. The first phase Guitars SALES U-95 multipattern tube mic, Rode involves TRACKING a live performance Amps RENTALS Drums REPAIRS NT-2 , Rode NT-1 (2), Audio Technica of up to 80 minutes. This TRACK- Keyboards LESSONS ,ATM35, AT-851a, AT-4041(2). Cardiod ING can be either in a venue in front P.A. Systems INSTALLS Dynamics: EV PL-10, Shure Beta 52, of a live audience or in your rehearsal Recording E.V. ND-868, ND-367 , Peavey PVM22 space with our band. The second phase DJ Systems (2) , Cad 22 (2), Shure SM-57 (2). involves a listening session with you Sheet Music SINCE Misc: Sony Spressa 24x CD Writer. and your bandmates a few days after Accessories 1977 AKG and SONY headphones, Furman the performance. In this second phase Distributed Headphone system , Gal- a rough mix of the entire set will be lien-Krueger 800RB bass amp with mixed down and burned to CD within a MUSIC & SOUND Eden 4x10 cabinet, Conn Strobotuner, 3 hour period. A $75 deposit is required Fender•Peavey•Yamaha•Korg•Tascam•Gibson•SWR•Event Marshall JCM-2000 guitar amp. for the first phase of initial TRACKING Eden•Behringer & Many More at DISCOUNT PRICES!! Notes: No Moving Parts is a comfort- of the live performance. able, low cost recording environment Equipment: Multitrack Recorder DAW Tascam 4-Track Recording systems from.. 99.00 with a friendly and knowledgeable staff. - Roland VS-2480; 24 tracks total, Guitar amps from.. 69.00/Guitars from.. 99.00 Providing exceptional sound quality 16 virtual tracks per track, 16 track 5 piece Drumsets w/cymbals from.. 369.00 with the kind of speed and flexibility simultaneous recording. 24 bit 44.1kHz Complete P.A. Systems w/ Mikes from..299.00 that only hard drive recording can recording, capable of 96kHz recording. YAMAHA Motif ES & KORG Triton Keyboards at Low Prices provide. Perfect for inexpensive, great 4 band EQ & Dynamics procesing for sounding demos or for budgeting the each and every channel. Internal EQ Portland’s Largest Selection of Fender Custom Guitars kind of time it takes to complete a fully and Dynamics processing is 56 bit. Fully produced final product. Check out our loaded with 4 effect boards for a total of website at www.nomovingparts.com for 8 stereo effects / 16 mono effects. Moni- 3401 S.E Hawthorne Blvd. Portland Oregon 97214 more info. toring: Mackie 824’s and AKG K270S 503-231-7027 (Portland) 888-240-4048 (Nationwide) Clients: Recently - Nojeem Lassisi and headphones. Microphones: 24 total; 6 Visit our Website: www.showcasemusicandsound.com Jujuba, Peer Pressure large diaphragm condensers, 4 small 10-7 Mon thru Fri /10-6 Sat! 11-6 Sun Productions, Day Pass, Emberghost, Visa-Mastercard-Disc-Amex 190 Days Same as Cash O.A.C. American Barricade, Erotic Continued on page 18

TWO LOUIES, Volume 26 Number 1, 2005 - Page 17 Monitors: Sundholm SL8.0 monitors (2 Email: [email protected] decks and console from national situ- pairs), Genelec 1029A w/sub monitors Owner: Galen Hegna ations and they have produced music Yamaha NS-10 monitors, Auratone that is the loved by millions world-wide. monitors Hafl er P4000, P3000 power Real Sound Productions Our love of this music and process is amps 7555 NE. Stanton St. focused to your future. Microphones: Neumann U87 (2), Audio Portland, Oregon 97213 Recorders: Scully 288-16 (2 inch 16tk), Technica 4033, 4050, 4051 AKG 414 (503)254-4108 Alesis HD-24 Hard Drive Recorder, B-ULS mic, AKG D112 (2) mics ADK E-mail: [email protected] Ampex AG440B (1/2 inch 2 tk), Studer Continued from page 17 tube, Audix D1, D2, D3 (2), OM5 Shure Engineer: Ken Hoidal A 700 (1/4” 2tk), Ampex 351 (1/4 inch diaphragm condensers, & 14 dynamics. 57 (4), 58, EV ND757a Co-Engineer: Steve Pershing Mono Tube). High Speed PC with Large Diaphragm Condensers-6: Neu- Others: Sonar XL, Steinberg Wave lab Offi ce Manager: Gini Bryant 24 bit/96 k capability. Sony soft ware. mann KMS-105, Audio Technica-4050, 3.0, , M Audio 1010 24/96k, Roland 32 track Pro Tools 6.1 24 bit 48K Panasonic SV 3700 (low hours DAT). Studio Projects C1, Studio Projects B1 XV3080,Roland 303 groovebox, Alesis Digi-Rack 002, Pre Sonus 8 channel CD Burners. Quality CD Duplicator. (3), Small Diaphragm Condensers- D4, Ensoniq TS-12 keyboard, Fender Digimax preamps, Two Pre Sonus Nice cassette rig. Dual Turntable w/ new 4: Crown CM-700 (2) Shure BG 4.1 Strat, 5-string bass, Tele custom, Gibson Eurekas, Single channel preamps, stylus. (2), Dynamics-14: Sennheiser 421 II, Les Paul, mandolin, Marshall, Fender Line 6 Bass Pod Pro, Alesis Masterlink Monitors: Large JBL Alnico mains 15 Sennheiser E609 SILVER (2), Beyerdy- Deville, Line 6 POD, Mesa Boogie V-2, ML9600, Two studiophile Bx6 monitors, in/2in hi / elliptical ring system. Tube namic M88, AKG D112, AKG D550, Crate. Two studiophile Bx5 Monitors plus Driven. Nearfi eld are JBL L26 tube or AKG D770 (2), Electro-Voice 868, Clients: Kerosene Dream, Jollymon, secondary playback system. Eff ects ss driven. Multiple head phone mixes. Electro-Voice 468 (2), Shure SM-57 (2) Stephanie Schniederman, Deen Cas- available: WAVE GOLD Native Plug- Playing Room has stereo JBL PA for Clients: Purusa, A.F.M., Stabitha, Sophe tronova, Mad Hattie, Th e Red Sector, ins include C4 Multiband Parametric playback and PA use. Lux, Subside, Audio Fatigue, Sugar Free, Triple Double, Shrapnel Records, Processor, Renaissance Compressor, Console: Soundcraft TS-12 Large Eve’s Dilemma, Red Sky Band, Conduit, Shortwave Records, Albert Reda, Ennis L1 Ultramaximizer, Q10 Parametric format STUDIO console. KLED, etc., etc. ad infi nitum in Th eory.... Equalizer, C1 Parametric Compander, Tube Equipment: RCT Stereo Line Enigma, Mondomode, Ultrapitch, Amp (Triode connected SE 807 fully On Site Audio Trueverb Room Emulator, Audiotrack, regulated and transformer coupled). A Diamond “Z” Records Company Private Studio Recording & Mastering Renaissance Reverberator, Renaissance “Th or” broadcast Tube Pre, Altec 16016 Lower Boones Ferry Road, Suite 5 420 SW Washington St. Equalizer, MaxxBass, S1 Stereo Imager, Lansing 220A Tube mixer (4X1), TL Lake Oswego, Oregon 97035 Portland Oregon 97204 SuperTap, MetaFlanger, Doppler, PAZ Audio Stereo Tube Compressor, TL (503) 675-1670 503-407-2521 Psychoacoustic Analyzer, DeEsser plus Audio Stereo Tube Parametric, RCT (503) 635-7335 Fax# www.psrecordings.com more Digi-Rack eff ects and proces- Tube 4 x 8 Stereo Plate Reverb, Presto Email: [email protected] Contact: Timothy Stollenwerk sors….too much too list. CD Duplica- 40B pre (regulated), RCT Stereo Tube Contact: Steve Landsberg Specializing in 24bit CD audio mas- tor, Roland V Drums TD10 Expanded Line Amp (6L6GC), KGW Line Amp, tering and post-production, which TDW-1, 50 foot snake, Drums/Vocal RCT Stereo Tube Mic line/Pre (5879 Opal Studio includes original sound design for room. Microphones: One Shure KSM27, & 6L6GC), RCT Tube Mic Pre (5879 6219 S.E. Powell theater and fi lm, fi eld recordings, and One CAD Equitek E200, Two High & 6L6GC), RCT Stereo Diff erential Portland, OR. 97206 much more. Energy Audio Technica ATM23HE, Limiter ( 6SN7GTA), 2 ea Bogen MX 503-774-4310 Rates by the hour or by the “audio One Peavey BMV 520I, One Shure Tube Mixes 5 ch (EF86), RCT Tube gear 503-777-5214 fax minute”. Satisfaction guaranteed. SM57, Two AKG C1000S, Two AKG has separate power supplies and DC Email: [email protected] Equipment: Sound Forge and Vegas C452EB, Two ADK A51 Type V, Two Heaters. 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(503) 246-5576 unique. We have acquired our main J-12,

Page 18 - TWO LOUIES, Volume 26 Number 1, 2005 singers. No, the swag didn’t persuade me to review Th e Zoo Did To You,” cartwheels across a dither this band. Th at would not have been necessary. of a verse, before alighting with great piquant pre- Not with this band. Not in the least. Th en again. ciousness upon the line: “Stars move while I remain It didn’t hurt. stationary beneath them,” which is simply gorgeous Continued from page 8 in its odd, disoriented splendor. girl band the Shangri Las, as well as to the B-52s Aortica Mor - Th e Brother Egg Th e off -kilter love song “Inventions,” makes (which is far more accurate), the DTs, with two deft Bingo Lady Records perfect sense if you listen to it with one eye closed. female back-up singers, sound more like the girls of ar from the fuel of the inklings of the “Ravinia” stutter steps in Goldman’s familiar fash- the Donnas backing Christina Amphlett of the ‘80s celebrity press, dwell Adam Goldman ion- ram jamming words into melodic syllables like band the Divinyls, or Chrissie Hynde’s Pretenders, and The Brother Egg. Composed of so much sausage into a pliant artistic casing. Frank with an occasional streak of country twang running intelligence,F wit and invention, Th e Brother Egg wist Zappa (were he still with us) would appreciate some through them, to boot. A good start, to be sure. in wan shambled shades, easily the equals of Colin of the anomalously perplexing musical interludes Th e title track rides upon a snakey riff from Meloy and other Decemberisms. Hard to pin down found here. “Th at One Salty Sea” is a trip down guitarist Alan Monk, reminiscent of Rick Miller with the shackles of simile or oblique comparison. memory lane… for your DNA. of Southern Culture on the Skids. Murphy’s vocal XTC and Flaming Lips: at times, but as oft en as not, Determined to throw you off the track, the recalls Martha Davis of the Motels, on one of their mostly just themselves. Quixotic musical chame- Brother Egg are as elusive as an honest man in a rockier tunes, “Mission Of Mercy.” With a twist: “So leons. Passive aggressive. Too smart, perhaps, for snowstorm. Th e lyrical stream of consciousness runs full of all the good stuff /So sweet, inside and out/If I their own good. tributarily into rivers of not quite understanding. A beat you with a stick/I bet I could make you twist and Goldman sings and mumbles thoughtful waterfall rushes. A cloud passes. A bird calls in the shout.” Yow! “Smart Chick” comes from a Donnas lyrics, sometimes, as with “Th e Arsenic Kiss Of Wet distance. Oranges and apples, standing proud and point of view: “I’d rather you hooked up with a giant Lips,” rather obscurely. “Penny Farthing” contains tall together. You know, the Brother Egg are much skank from Hooters/Th an some clever little writer glimpses of lyrical grandeur: “I circle like a shark/ too good for you and you don’t deserve to hear them. who volunteers and tutors/But you screwed a smart I follow like a weekend.” Well, of course he does. You wouldn’t understand what they were doing chick/You broke the rules.” But with the lovely waltzes (more frenetically so, anyway. It’s just one person’s inkling. The three covers among the eleven songs the latter) “Dandelion Wildfi res” and the strangely Burn Th is EP - Th e Get Me Downs found here, are interesting selections, representing compelling “Evening,” a deep, rich melodic sense Self Produced a wide swath of popular music. Th eir interpretation rises to the fore. With Sam Ross on bass (cello, Former Sugarboom-ers guitarist Michael Don- of Dead Or Alive’s ‘80s hit, “Spin Me Round,” is keyboards, vocals), Tofer Towe on drums (keys, howe and bassist Anne Stark have assembled with rocked out, with bassist Matt Tracy driving the song behind Monk’s restrained electric guitar and drum- “Heretofore, the fi nest piece of swag which I, mer Bob Th ompson’s insistent beat. Th e two-part personally, had ever received, was from the band female harmony vocals provided by Pat Janowski and Courtenay Hameister, sound like Bananarama Bombay, who thoughtfully sent me a couple of backing Murphy’s Courtney Love. And that’s not necessarily a bad thing. bottles of Bombay Sapphire gin and a swell one- Th e band perform a faithful adaptation of the of-a-kind martini glass by which to imbibe.” ‘90s cult classic, “Bad Word For A Good thing,” by the Philadelphia-based, all-girl surf band the Friggs. mandolin and vocals and Chris Kalani Gabriel on former Pilot drummer Eric Alto to form a nift y little Possibly the most surprising cover, is the Twisters’ guitar (keys, clarinet and vocals), joining Adam on trio with a bit of a retro stance. Romeo Void’s “Never take on AC/DC’s “Whole Lotta Rosie,” “Whole Lotta guitar (and lead vocal), the ensemble demonstrates Say Never” comes to mind with “Candy Hungry,” Jose.” Murphy’s vocal vaguely recalls that of Lydia estimable euphony, unique and quaintly arcane, with as Stark belts out a hard hitting vocal over a driving Pense in the early ’70s band Cold Blood,” then con- chops and ideas aplenty. bassline, with Donhowe providing the ballsy low- sidered to be another Janis Joplin. Th e comparison Chanteuse Kaitlyn Ni Donavan, a frequent string guitar riff s and upper string wails. rings somewhat true here, as well. member, adds violin and viola to tracks such as Donhowe starts “ Not Satisfi ed” off with Delta “Dirty Girl” sounds like Christina Amphlett “Theta Clear” and “Mercury Retrograde,” with finger picking before launching into a ‘60s-ish backed by the Bangles. The faint cowpunk of occasional guest Jeff Henry contributing rum- (think the Yard birds’ “For Your Love) rocker with “Rodeo Queen” calls to mind Johnette Napolitano bling baritone sax and recorders on the latter. Th e twin vocals from Michael and Anne. “Fastcar” of Concrete Blonde. “Demi” the story of a has-been instrumental, “Persanity Insonifi ed,” lives up to its sounds like Debbie Harry fronting the Romantics, “silver screen starlet” (any bets on Demi Moore?) name, a synth (sounding like a theremin) and viola with Stark sharing the vocals with Donhowe in the conjures Linda Perry of 4 Non Blondes fame. mélange of some specifi c cosmic gravity, as yet chorus. “Poetry Slam” is defi nitely in Deborah Iyall “Skedaddlesville” could pass for a wry John Hiatt unknown: spacey and alien. Cool. “Wind Chimes” territory, Stark’s vocal approach again harkening to number, along the lines of “Cop Party,” with a darker matter-of-factly drops a brief melodic reference to Romeo Void. edge. Luscious three-part vocal harmonies embellish Brian Wilson’s Smiley Smile piece of the same name “Touch You” has its roots in the Champs’ the turns. “Take Me” is the hit of the litter, with a while rushing headlong breathlessly. “Pincher,” like “Tequila,” with Stark ululating resonantly like early slippery beat, a hard lyrical edge and a vibrant feel, the fi rst song on the album, mad hatters momen- Chrissie Hynde. Th e hit of the set is “Sexsie Volvo,” in the neighborhood of Th rowing Muses or the tarily (with Kaitlyn adding a vocal) before falling with it’s infectiously explosive chord turns on guitar, Breeders, perhaps. to the fl oor. combined with Donhowe’s Mike Love informed The Ditty Twisters are another top-notch Lords of the fl ies and frogs swirl and croak vocal, makes of this one of the best car songs since band, with roots extending back to the new wave before dissolving into “Deep Back Woods,” a woozy the Beach Boys’ “Little Deuce Coupe.” ‘80s (while possibly refracting the ‘70s from a great daydream: “Flies fl utter inside we divide and subdi- Th e Get Me Downs are a four on the fl oor, distance). Vocalist Marie Murphy has a powerful vide.” Well, of course we do. Kaitlyn and Adam sing double-clutch trio with a bit of horsepower. Th ey voice that holds up well to the more tender num- in scary unison on “Smoke Signals,” with Kait so are raw and raucous and ready for action. Th ere’s bers, as well as the harder hitting aff airs. Th e band close mic’ed she sounds like Claudine Longet (look nothing really new here. But the band provides ably deploys instrumental prowess, with admirable her up) cooing soft ly on this slippery bossa nova. enough creative turns to prevent their music from aplomb, in support of Murphy and her solid backup Adam’s curious, freeform vocal delivery on “What ever sounding entirely imitative or mundane. LL

TWO LOUIES, Volume 26 Number 1, 2005 - Page 19 and audio engineering. Analog Audio Outboard: Dangerous projects range from local demos to Th e new Cool Blue Studio off ers a 2-Buss, UREI 1178, (2) UREI LA-4 national albums in all styles of music. relaxed and comfortable environment, comp/limiter (modded by Eddie Our new facility located two blocks conducive to creativity and productivity. Ciletti), Drawmer 1960 tube compres- from the Rose Garden arena houses two John Reynolds has mixed concert sor (with Platinum upgrade), GML large audio studios and a video editing sound for Ray Charles, Shawn Colvin, 8200 EQ, SPL Tube Vitalizer, SPL suite. Call to set up an appointment. We Etta James, Stephane Grappelli, James 9842 Transient Designer, Aphex 612 would be happy to show you our studios Brown, Keb Mo, Charles Brown, Gladys Expander/Gate, Lexicon 300 reverb/efx, and discuss how Sound Impressions Continued from page 18 Knight and many other legendary Lexicon PCM-60 reverb, Eventide can assist moving your musical career Clients: Many well-known and emerg- artists. H-3000SE efx/reverb w/sample option, forward to the next level. ing artists over a 30+ year audio career. John has provided quality assurance Roland SRV-2000 reverb/efx, Roland Mixing Consoles: Studio A: DDA AMR- Many fun national level experiences. We consultation and sound design services SDE-1000 delay/efx, Deltalab Eff ectron 24, 60 inputs with Uptown moving produced “Wing It” and other musical for Summit Audio, E-mu Systems, I delay/efx, DigiTech RDS 3.6 delay/efx, fader automation, 24 buss split console programs for local exposure of the PDX Antares Audio Technologies and Eventide Instant Flanger, BBE 802, EXR design. 36 channel master section and musical community. Also found on Mackie Designs. EX2 exciter, La Pavoni espresso maker., 24 channel monitor section with EQ. a Live Sound Crew here & there. We Clients: Pele Juju, ZunZun, Scott Fisher, Ampex 354 tube electronics. Switchable plasma metering. Studio B: build our own custom Tube Gear, what Bossa Nouveau, Stanford University, Digital Video Editors: Final Cut Pro 4, Yamaha 02R digital mixing console: 40 can “glow-in-the-dark” do for you??? Julia Korena, Dan Sisco, Times Square, DVD Studio Pro 2, Graffi ti 2, Commo- inputs with dynamics and parametric Jolly Mukherjee, Cabrillo Stage, Opafi re, tion 3. EQ. Studio C: Yamaha 01V Digital Reynolds Audio Production Ukulele Dick, Rory Koshlaychuk, Chu- Video Recorders: Sony UVW-1800 Beta Mixing ConsoleMulti-Track Recorders: / Cool Blue Studio Chumbe, David Winters, Production SP, Sony DSR-20 DVCAM/MiniDV, Otari MX-80 2 inch 24-track with CB- SW Portland (call or email for direc- Logic, Villa Montalvo. See web site for Sony BVU-800U-Matic SP w/TC Card, 120 locator for programmable punch-in tions) client quotes. Mitsubishi S-VHS, Canon GL-2 w/Cen- and punch-out. ADAT 24 tracks, BRC (503) 892-6268 tury wide angle lens. auto locator. E-mail: [email protected] Rex Recording Video Monitors: Mitsubishi 46” (control Mastering Decks: Otari MTR-12 II, Web: www.reynoldsaudio.com 1931 S.E. Morrison Room), Sony 14” NTSC calibrated Tascam 52, Panasonic SV-3700 DAT’s. Contact: John Reynolds Portland, OR 97214 monitor, Sony 21” (VO Booth). Panasonic SV-3500 DAT, Yamaha CD-R Equipment: Mackie Digital Eight Bus (503) 238-4525 Digital Video Storage: Random access writer console with Massenburg EQ, Antares Web: www.rexpost.com on line: 120 GB RAID (Glyph DV Proj- Noise Reduction: Dolby 363 SR/ A AutoTune and TC Electronic reverb. Owner: Sunny Day Productions, Inc. ect)10 bit, uncompressed video. 2-Channels, Dolby XP 24-Channels SR, Mackie HDR 24/96 Pro 24 track, 24 Digital /Audio-Video Codec: Canopus Digidesign D.I.W.R. Digital Audio bit recorder with Digidesign Pro Tools River Recording ADVC-500 Component/Composite/ Digital Workstations: 3 Digital Per- fi le exchange. Apogee PSX 100 A/D/A Milwaukie, OR Firewire IN/OUT with +4, Balanced former workstations with 2408, 2408II, converters, Aardvark Aardsync II (503) 659-5760 audio IN/OUT. 1224, MIDI Time Piece, and MIDI Word Clock distribution, Amek/Neve, Owner: Steve Parker Computers: G4 Dual 1GB w/1.5GB Time Piece AV interfaces, Apogee Avalon, DBX Blue Series, Lexicon, RAM & SuperDrive, G4 500 Titanium AD Rossetta Converter, Pro-Tools III TC Electronic, Alesis MasterLink, September Audio Powerbook w/768 MB RAM. 16 Track Power Mix (on the AVID Symetrix, Line 6, Yamaha, Behringer, WEB: www.septaudio.com/music. Internet: DSL wideband connection, workstation). BBE, Neumann, AKG, Audio Technica, html Fetch, Camino Synchronizers: 4 Adams-Smith Zeta Royer, Audix, Electro-Voice, Shure, 503.295.1277 Th ree’s. Sony, Mackie HR824s and Auratones, Engineer/producer: Craig Harding Sound Goods Outboard Signal Processors: Lexicon: JBL Eon rehearsal PA, Neutrik TT patch Direction: 24 Track/24 Bit Location Beaverton/Aloha, Oregon 480L, 2-Lexicon PCM-70’s, 2- Lexicon bay, Mogami, Monster and Apogee Recording (www.septaudio.com/ (503) 690-6864 LXP-1’s, Lexicon PCM-41, 2-Yamaha cables. See web site for complete list. location.html) & High Resolution Web: http://www.soundgoods.com REV-7’s, Yamaha SPX-90, Alesis Soft ware: Cubase SX 2.01, WaveLab Mixing for home studio owners (www. Owner/Engineer/Producer: Joshua Multiverb, Ibanez SDR-1000, Even- 4.01, Diamond Cut DC5 restoration, septaudio.com/mixing.html). Slamp tide H-3000 Ultra Harmonizer, ADA plugins from Antares, Bias, Steinberg, Digital Audio Recorders: Alesis HD24, Pitchtrack, Roland SDE-3000, Deltalab Native Instruments, iZotope, Acuma Alesis Adat, Tascam DA-88 with SY-88 Sound Impressions, Inc. 64 Delay, Deltalab 1064 Delay, Audio Labs. sync Card, Sony PCM R-500 DAT. 1920 N. Vancouver Design Delay. Orban 672A 8 band full Pentium 4 2.5 GHz/1 Gb RAM, Win Digital Audio Editors: ProTools 6 with Portland, OR 97227 parametric EQ, Orban 622B four band XPpro, Lynx L22 audio I/O, Steinberg Digitranslator 2, Digital Performer 4. (503) 287-3975 Fax: 249-5021 stereo full parametric, NIH PE-30 four Midex8 MIDI interface, removable Other Digital Audio: Toast 5, Jam 5. Email: [email protected] band full parametric, UREI A522 1/3 fi rewire drive, Sony DVD+/-RW, Bravo Digital Audio Plugins: Universal Audio Web: www.sound-impressions.com octave graphic. Focusright Mic Pre’s, TL CD publisher. (UAD-1): LA-2, 1176, Pultec EQP-1A, Other Services: Web Site Design, Video Audio Stereo Mic Preamplifi er, Aphex Instruments: Roland RD700 weighted Fairchild 670, Dreamverb, Nigel Waves: Production & Duplication, and CD Type II Aural Exciter, Aphex Type B 88 key controller, Steinberg Th e Grand Masters Bundle, Restoration Bundle. Rom Authoring. Aural Exciter, 2-dbx 263X de-esser’s, VSTi piano, Native Instruments B4 Antares: Autotune. Elemental Audio: Owner: Dan Decker B.A.S.E. Spatial Processor, Crane Song VSTi organ, LynPlug Cronox sampler, Equim, Firium, Inspector. Digital Fish- Engineers and Personnel: Dan Decker: STC-8 Stereo Compressor, Focusright hardware synths from Roland, E-mu, phones: Blockfi sh, Spitfi sh, Floorfi sh. Engineer / Producer, Nick Kellogg / Compounder Stereo Compressor, dbx Korg, Kawai. Lots of guitars, amps, AudioEase: Altiverb, Barbabatch. Engineer / Producer, Rick Duncan: 122 Stereo Compressor, Aphex Stereo eff ects and percussion toys. Digital Audio Storage/Random access Engineer, Wayne Th ompson: Pro- Compeller, 2-JBL 7110’s, 2-Symetrix Notes: Established in 1990, recently on-line: (2) 30GB Seagate 10,000RPM grammer / Engineer, Delandra Clark CL-501’s, 2-Symetrix CL-100 , Symetrix relocated from Santa Cruz, CA, Reyn- Ultra SCSI in Glyph hot-swap enclosure Scheduling / Artist Management, CL-150, 2-Symetrix 544 Quad Gates, olds Audio Production off ers music driven by ATTO dual head, SCSI-3 independent engineers are welcome. Aphex 612 Stereo Gates. production, recording, mixing, editing, controller. Random access off -line: (4) Assistant Engineers: Jim Lechocki, Instruments: Yamaha C-3 6 foot grand mastering, audio restoration, compos- Granite fi rewire hot-swap enclosures Justin Swanson, Tony Crepps piano, Yamaha DX7, Yamaha DX7 II, ing and sound design, studio and live with multiple 120GB sleds. Direction: Sound Impressions has been Ensoniq ASR10, Fender P-Bass, Fender freelance mixing, consultation, system Analog Audio Recorders: Otari 5050 2 serving the Northwest with qual- Jazz Bass, Fender Telecaster, Kramer design and private instruction for guitar track, Marantz MPR 502 Cassette Deck. ity audio services since 1983. Audio DMZ-5000 Fretless Bass, Gibson J-40

Page 20 - TWO LOUIES, Volume 26 Number 1, 2005 approach him, and he grabs me and gives me go back and party at H2O. H20 a big hug. Ah, those muscles, that chest, that Elusive and a bit exclusive; what makes Continued from page 3 package; you had to feels those arms wrapped “H2O” so unique? Well, according to H2O, around you to truly enjoy the moment! He “First of all - it is not a “hit and run” club. and I jump on a speaker and start shaking propositioned me and I kept thinking, “Damn. While most clubs in Portland have a life span it. Later, we randomly grabbed cruisers and Stay away.” “Please stay away!” Thank good- of 18 month to 3 years, we have designed this partied the night away. ness my man knows I’m a BIG flirt. place to become not only a hot spot for people Alexander introduced us to Executive I’ve partied at some of the best clubs to party, but a place where business people can Chef, Joseph Nagy, and we complimented in Southern California, New York City, and come after work for an awesome happy hour to him on his luscious, delectable appetizers. Chicago, but I’ve never partied in Portland, try our delicious food items or to enjoy a glass We assure Alexander that our drinks are more Oregon like I partied that night at the H2O of wine from our fabulous selection.” than proper. And, my crew agreed that we Martini Bar & Restaurant. H2O is definitely Get found at H2O a level above of the would definitely return for lunch and dinner. a happening scene; a euphoric experience that rest; where the people on the street put their Many dances, drinks, and appetizers brings to mind U2’s Vertigo. “Hello, Hello; Party to the test! www.h2oportland.com later, (thank you Big Tony), it’s time to go and HOLA! I’m at a place called vertigo. It’s every- we’re among the last to leave. I mean we were thing I wish I didn’t know except you give me literally the last. As I exit the building, I spot something I can feel!” I didn’t want to leave pseudo-Slash, my bad boy extraordinaire. I and now I’m definitely planning a trip just to LL acoustic, Rickenbacher 5001 Stereo Tall Jazz, Dub Squad, Gary Ogan, It is the most musical room in the NW Microphones: se. Electronics 2000, Bass, Ampeg B-15 Bass amp, Fender Dub Debrie, Steve Christopherson, and we are proud of the great listening GT AM-52 (2), Audio-Technica pro Sidekick amp. Oberheim Matrix 6R, Here Comes Everybody, Patrick Doro, environment Purple provides. Plus we 37r, Shure sm 58, Shure sm 57 (4), Korg DW-8000, Sequential Drum- Double Trouble, Cross Country, Power have a long long list of happy clients. Sennheiser 421, Sennheiser e604 (3), trax, 2-Alesis D-4 Drum Modules, Of 10, Marv Ross Rindy Ross, Land of Mastering is worth it! We can make an AKG D112, AKG C1000. Korg M3R, EMU Proteus, Oberheim the Blind, Chode, Mel, Nancy Bright, AUDIBLE difference! Free 30 second Clients: Five Fingers of Funk, Porter- Matrix 1000, Kawi K1, Korg Polly 800, Leroy Vinegar, Soular, OC192, Gypsy sample of your tunes if ya need some house, Silky, Organic Mechanic, Code- Roland 2080, Akai S2000 Sampler, Caravan, Melt, JIVA, Victor Wooten, convincing. Convenient NW location. breaker, Danny East, The Instigators, Roland JV1010, Fender Rhodes Piano, Portland Trail Blazers, Portland Winter All kinds of services for local musicians Invisible Doctors, Diego Salvadore, 7th Whurlitzer Piano, large sampling library Halks, Portland Songwriters Associa- are here under one roof- CD Duplica- Seal, Joe Cunningham of loops and sounds. tion, Tektronix, NEC, Fujitsu, LPKF tion at low prices for independent Microphones: AKG The Tube, AKG USA, LPKF Germany and many more. Musicians , Graphic Design, Recording, Tonic Media 414’s, Neuman U-87, Neuman KM- Mastering, & high tech Pro Audio Sales PO Box 14062 140’s,EV-RE20, AKG 330’s, 320’s, 451’s, SuperDigital Ltd / Purple Mastering in our adjacent store. Oregon family Portland Oregon, 97214 460’s, D-12’s, D112. Audio Technica Studio owned since we started up in 1987! (503) 236-2123 ATM-63’s, Tascam PE-250’s, Sony 1150 N.W. 17th Portland OR 97209 Mastering since 1989! Email: [email protected] Condensers, American and Shure Rib- 228-2222 Owner: Alan Alexander III bons, Shure SM-57’s, Sennheiser 421’s, Email: [email protected] T-Bag Studio & more!Monitors and Amplification: Web: www.superdigital.com Address: 6925 N.E. Garfield Ave. Port- Walnut Studios UREI 813’s, KRK 7000’s, Yamaha NS10’s Owner: Rick McMillen land, OR 97211 (503) 312-9663 with matching sub wolf, Auratone Contact: Erik Ames Phone: (503) 313-5521 Balanced Power, Equi-Tech ET1RSI-F. 5-C, Ramsa, Crown, Yamaha,and QSC Engineers: Rick McMillen, Erik Ames, Email: [email protected] Console, Mackie D8B, OS 3.0. Recorder, Amplification. Tony Lash, Mo Morales, Jeff Saltzman, Contact: Talbott Guthrie for booking Otari RADAR II Hard Disk Recorder, Clients and Projects: Subpop Records, Nick Moon information OS 2.20. Mics/DI, AKG C 414 B-TLII Atlantic Records, Frontier Records, Rates: $50-$125/hour. Depending on Rates: $20.00 per hr. (2), Groove Tube 1A (2), Sennheiser Sony Records, Mercury Records, nature of project. Packages available. Block rates are available. I know many MD-421 (2) , Shure SM-57 (4) , Shure Roadrunner Records, TK Records, (see online) musicians who can help write, arrange, SM-58 (2) , AKG D112 , Shure Beta 52 , Carlson Records, MDR Records, Equipment: Multiple DigiDesign ProTo- or produce, if you need it (for a little Neumann M147 , Neumann KMS105 , Rainbow Records, Schizophonic ols HD Accel systems with all kinds of exta cost). The studio, control room, SansAmp Bass Driver DI , AKG D12-E Records, Elemental Records, The Dandy plug ins, Apogee A/D & D/A Convert- and acoustic panels were designed by , Neumann KMS148 (2) Preampli- Warhols, The Freemartins, Scott Fisher, ers, GML Analog Parametric EQ, GML Rick Sullivan. fication, True Systems Precision 8 , Smoochknob, Al Perez Band, Ashbury Dynamics Controller, Manley Master- Main Components: Mackie 32x8 Focusrite ISA-110, Limited Edition , Park, Blake Sakamoto, Honey Ryder, ing Tube Pultecs & Mid Pultecs, TC recording console, Alesis HD24 24 track Focusrite Platinum Voicemaster (2) David Lee, Disciples In Song, Jan Celt, Finalizer 96k, Waves L2 Ultramaximiz- hard disc recorder, Alesis ADAT xt-20 , Mackie VLZ’s Processing, Mackie Lonnie Turner, Washing Waldo Woo, ers (multiple), Newest Genelec Active (2), Tascam DA-P1 DAT recorder, Event EFX – Reverb, Compression, Gating Signals, MOJO, Jackstraw, Fred Stickly, Monitoring with Genelec subs, BigAss® 20/20 monitors. , Apogee UV22 , Lexicon PCM 91 Hardship, Jamie Hampton, Stark Raving CD burners, 16 or 24 Bit files welcome Processing: ART Dual MP tube mic Reverb , Waves L2 Ultramaximizer , Mad, Super Friends, Dave Said Strike, at 44.1/48/ 88.1/96 khz ! 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CD-R, DAT, .mp3, .wma, Cassette Girls, Swoon 23, Craig Carothers, Angell, Stanley Zappa, Michael Har- Available Instruments: Allegra 6 piece Transfer Formats, TDIF, ADAT Opti- Heatmiser, Dan Reed, Monde La Bella, rison, Rose City Kings, Dandy Warhols, drum set, Ludwig 5 piece drum set, cal, Analog XLR and _” TRS Stereo Southern Nights, Caveman Shoe Store, Jesus Presley, Gino Vannelli, you’re Roland XP-10 synth, Roland SDP-20 Transfer Formats, AES/EBU, S/PDIF, Pig Pen, Hearing Voices, Snowbud, next. percussion synth, Boss drum machine, XLR,” Coaxial. Dan Balmer, Brothers of the Balidi, Nu Other: We built a brand new room ( our many guitar and bass amps, various shooz, John Nilsen, Michael Harrison, third in 5 years!) from the ground up. percussion items LL

TWO LOUIES, Volume 26 Number 1, 2005 - Page 21 when the songwriter just wants a publisher to col- Catalog Representation company will “cherry-pick” lect royalties and handle the various paperwork (for only certain songs for representation. example, the BMI/ASCAP song title registrations, 3. Copyright Transferred. No copyright is copyright applications, the issuance of licenses, etc.), transferred. Continued from page 5 and where the songwriter does not want or need a 4. Income Sharing. Typically in the range of 25% able to get the song recorded by a signed third party publisher to proactively promote his or her catalog of - 50% of the income from any deals secured by the artist or used in a fi lm, television program, etc. within song. A good example of a company that does a lot of Catalog Representation company. twelve or eighteen months. Administration Deals is Bug Music in Los Angeles. 5. Term. Oft en in the range of two to three years, 6. Advances. Oft en the publisher will refuse to 2. Material Covered by the Deal. Most oft en this but sometimes longer, sometimes shorter. pay an advance. However, even when advances are kind of deal covers all material written by the song- 6. Advances. Usually no advance is paid, but paid, they are usually very small advances, typically writer, or at least any material that the sogwriter has there are occasional exceptions. in the range of $200 - $500 per song. not already committed to other publishers. Sub-Publishing Deals Co-Publishing Deals (aka “Co-Pub Deals”) 3. Copyright Transferred. No transfer of copy- 1. Typical Scenario. Th is type of deal is between a 1. Typical Scenario. Th is type of agreement is right (usually). U.S. publisher (including songwriters who act as their typically used for writers who are in groups already 4. Income Sharing. Typically, the publisher will own publisher), on the one hand, and a foreign pub- signed to a record deal. Th is type of agreement covers take 10% to 20% of the income, and the pay the rest lisher, on the other hand. For a cut of the income in the original material on the group’s records. Normally to the songwriter and the songwriter’s publishing the applicable foreign territories, the foreign publisher all of the members of the group who are songwrit- company. will collect the income in those territories. ers will be signed to this type of agreement with the 5. Term. Administration deals are normally in U.S publishers enter into this kind of deal in same publisher. the range of three to fi ve years. order to receive their money faster from foreign ter- Just to be clear here, I’m talking about a pub- 6. Advances. For catalogs generating a modest ritories and also to collect more of the income that lishing deal with a publishing company not affi liated amount of income, usually no advance is paid. For has been earned in those foreign territories. (Oft en, with the record company. Today, it is much less likely more profi table catalogs, usually an advance will be for various reasons, only part of the income earned than it used to be that a record company will demand paid, with the amount to be determined on the basis in foreign territories is actually collected. Th e money a publishing deal as part of a record deal, though of the income that has been generated in recent years not collected is customarily referred to as “black box there are still some indie labels that still do so – for by the catalog. money.”) example, some independent labels in the Christian Income Participation Deals 2. Material Covered by the Deal. Usually the music market. 1. Typical Scenario. Th is type of deal is a “pub- entire catalog. 2. Material Covered by the Deal. All of the origi- lishing deal” only in the sense that it involves a share 3. Copyright Transferred. No copyright is nal songs on the group’s fi rst record, then the publisher of future publishing income. Usually this type of deal transferred. will have the right to options on the original songs on is used to cut someone in on a share of the publishing 4. Income Sharing. Th e foreign sub-publisher anywhere from two to four of the follow-up albums, income – for example, to serve in eff ect as a “fi nder’s will normally take in the range of 25% of the income hence for a total of 3 to 5 albums, with the exact fee” for having found a record deal for a songwriter. off the top, then pay the balance to the U.S. publisher. number depending on what the parties negotiate. Very oft en the “income participant” is not even a Th e percentage taken by the sub-publisher will be 3. Copyright Transferred. Th e songwriter nor- publisher. signifi cantly less for large, profi table catalogs. mally transfers one-half of the copyright ownership 2. Material Covered by the Deal. Highly nego- 5. Term. Usually in the range of three to fi ve to the publisher and retains the other one-half owner- tiable and varies widely. May only cover, for example, years. ship. In other words, the song is co-published (and the material on the songwriter’s fi rst album. 6. Advances. Same situation as with Adminis- the copyright is co-owned 50-50) by the third party “Advances are almost always paid to the songwriter in publisher and the writer’s own publishing company. 4. Income Sharing. Normally, the third party the case of co-publishing deals. For groups newly signed publisher will collect all income and then pay to the to major label record deals, the initial advance from a major songwriter and the songwriter’s publishing company music publisher is typically in the $150,000 - $500,000 range 75% of all publishing income. 5. Term. As already mentioned, co-publishing and sometimes higher’” agreements are usually for a certain specifi ed number 3. Copyright Transferred. No share of copyright tration Deals. of albums. is transferred. Instead the “income participant” is only Editor’s Note: Bart Day is a Portland-based enter- 6. Advances. Advances are almost always paid entitled to receive a share of income. tainment attorney in private practice. He also serves to the songwriter in the case of co-publishing deals. 4. Income Sharing. Varies widely, but oft en is in as VP, Legal and Business Aff airs, for Media Creature For groups newly signed to major label record deals, the range of 10% to 15%. Music in Los Angeles, and is outside music counsel for the initial advance from a major music publisher is 5. Term. Again, highly negotiable and varies Vivendi Universal Games, the computer game division typically in the $150,000 - $500,000 range and some- widely. of Universal Studios. times higher, with additional advances being paid if 6. Advances. No advance is involved. Bart is the co-author of a chapter (entitled “Con- and when the publisher exercises its options for the Catalog Representation Deals tracts and Relationships between Major Labels and follow-up albums. 1. Typical Scenario. Th is type of deal is used Independent Labels”) in Th e Musician’s Business and “Step Deals” when a songwriter or publisher is primarily interested Legal Guide, a book compiled by the Beverly Hills Bar Th is type of deal is for situations where the in getting their material used in fi lms, television Association and published by Prentice-Hall Publishing songwriter is not yet signed to a record deal, but may programs, etc. and want to enter into a deal with a (New York). later enter into a record deal. Th e contract here will company that specializes in doing so and has all the Th e reader is cautioned to seek the advice of the provide, in eff ect, that the deal will be the “Tradi- necessary connections. Usually that same reader’s own attorney concerning the applicability of tional” deal mentioned above, but will automatically type of company will also represent record labels that the general principles discussed in this column to the transform into a Co-Publishing deal if and when the want to get their masters used in fi lms, etc. reader’s own activities. songwriter is signed to a record deal. 2. Material Covered by the Deal. Typically, as the Administration Deals (aka “Admin Deals”) title “Catalog Representation” would imply, the song- 1. Typical Scenario. Th is type of deal is used writer or publisher’s entire catalog. But sometimes the LL

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