OREGON MUSIC / JULY 2003
photo Buko Attention Guitar Players You Can Be Part of Rock History While helping a GREAT CAUSE: KEEPING THE MUSIC GOING WITH OUR YOUNG PEOPLE TODAY. ANOUNCING THE 1000 GUITARS LOUIE MUSIC FESTIVAL AUGUST 24, 2003 CHENEY STADIUM, TACOMA WA 1000+ GUITAR PLAYERS PLAYING TOGETHER...THE NATIONAL ANTHEM OR ROCK N ROLL: LOUIE LOUIE! (to set a Guinness Book World Record) *Sponsored by the Wailers Performing Arts Foundation in cooperation with the Boys & girls Clubs of South Sound. Net proceeds will benefit the Wailers Performing Arts Foundation (WPAF), a non-profit 501 (c) (3) organization in support of the organization’s music programs and scholarship fund. The importance of music and art in a young person’s education has been found to be as important as any other curriculum subject. The purpose of the 1000 Guitars Festival is to focus attention on the development of alternative opportunities and programs for young people to pursue and include music in their educational process. SIGN UP NOW! BE A PART OF HISTORY! GO TO: www.1000guitars.org
TWO LOUIES, July 2003 - Page 3 TWO LOUIES, July 2003 - Page 3 ritty guttural singer/songwriter Not many Portland bands made the cut Bill Bloomer was recently spotted this year at the Waterfront Blues Festival but Gat the Tuesday night all purpose the Rose City Kings did. This new entry in jam at DV8 on 52nd and S.E. Powell. Bill our ever growing, nationally recognized blues has been in Thailand for the winter taking scene is moving quickly up the blues totem a break from, well, pretty much everything. pole and soon may be sitting pretty if they You’ve got to respect this approach to mind keep doing all the right things. Led by bay area and body cleansing but he said the best part transplant Dan Berkery this five piece blues was not having to read my goofy column for machine tells it like it is and take no prisoners six months! Bill has a great twelve song cd when they crank it up for a live show. The main titled “Temple Dogs” mixed and mastered by stage was the perfect gig on a perfect day and Robert Brown. We decided to forgive Bill for the Kings reigned supreme as the effortlessly disowning all his beloved fans by celebrating blew through their well planed out set. The his ninety seventh birthday at the Bitter End, Rose City Kings have a great eleven song cd the night ended with a ripp’n set by the master with all tunes written by Dan Berkery and well himself. backed up by band members Jeff Simonson Adam Mackintosh pulled off another on keyboards, Ron Camacho on bass, Roger tour of Spain where they now refer to him Espinor on drums and Joe Powers blowin as “Reinventar el Rock” (you translate), for harp. For more info check out their website some reason Portland bands seem to do well at www.rosecitykings.com in Europe and abroad I think it has something to do with our water, it’s always falling from the sky so it makes us want to rehearse often and then leave. Adams band “Gruesome Galore” wasted no time while in Spain, their flight landed on May 6th and the tour dates were Thursday May 8th-Club Intrusos in Santander, May9th Fonda el Tozal in Terval, May 10th Sidecar in Barcelona as well as a 3p.m. live radio show and May 11th at Lleida Festas in Llieda. The band was Adam Mackintosh-vocals and guitar, James Beaton on a Roland VK7, Joe Sanders on drums and Addison Elliot on bass. Their tour manager was Alberto Manzano who is also a translator for Leonard Cohen and Jackson Browne. Gruesome Galore has a sweet cd titled “Gracious Living” and their website address is www. Gruesomegalore.com, check it out for upcoming local shows and other cool stuff. Good job Adam! LL
Page 4 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 5 THE DIFFERENT KINDS OF DEALS same as the “P&D” deal described above, but price of records sold, but often with various INVOLVING RECORD LABELS: here the record label, not the distributor, has royalty deductions applied, in which case the A THUMBNAIL SKETCH the records duplicated. The distributor’s role is actual royalty paid is somewhat less. his month, rather than discuss- “distribution only.” The distributor’s cut here All manufacturing, marketing and pro- ing any particular kind of music is typically in the same percentage range as the motion costs are paid by the label selling the Tbusiness contract, I thought that “P&D” type of deal mentioned above. records. it might be useful to give a thumbnail sketch “Piggyback” Deals: Used when an indie This kind of deal is often found between of the various kinds of business deals between separate record labels, and also the various kinds of deals between record labels and distributors. What distinguishes these various kinds of deals can be very confusing at times, but hopefully the thumbnail sketches below will make it easier. Before getting into these various kinds label doesn’t have the clout to get its own distri- two labels in different countries. For example, a of deals, one thing should be mentioned fi rst, bution deal. Instead, in order to fi nd distribu- U.S. label might enter into a licensing agreement though: With any particular kind of deal, there tion, the indie label must instead “piggyback” with a German label, whereby the German label will usually be some variation in the exact terms onto another indie label’s already-existing dis- is entitled to sell the U.S. label’s recordings in of the deal from one situation or company to tribution deal with a record distributor. This Germany. However, this kind of deal can also the next. kind of deal is also often used when an indie happen in the case of two labels in the same label could get a distribution deal on its own, country. For example, sometimes a U.S. major DEALS BETWEEN LABELS but the deal it can piggyback onto is a much label will license (to a U.S. indie label) certain AND DISTRIBUTORS better deal, or with a better distributor, than recordings from its catalog that may have a very Pressing and Distribution (“P&D”) the indie label could get on its own. small current audience, because it may not be Deals: The name of this deal describes its basic Typically the label with the distribution worth it to the major label to promote and premise. A record label fi nances the recording deal will get a few percentage points from the market those particular recordings. process and delivers the fi nal master recording other label’s sales. So, for example, if that label’s “Rights Buyouts”: Here one label will to a record distribution company, which will distribution deal provides that the distributor have previously signed a recording contract then have records pressed (i.e., duplicated) and is getting a distribution fee of 20 percent of the with an artist. Then at some later time, that distribute those records to sub-distributors, wholesale price, it might cost the piggybacking label and a second label will sign an agree- retailers, etc. In the case of these P&D deals, as label 24 percent – i.e., the distributor is getting ment, whereby the second label buys all of in the case of the next two distribution-oriented 20% and the label with the distribution deal is the rights which the fi rst label has in the artist. deals discussed below, the indie label retains all getting an additional 4%. The exact percent- In short, the second label steps into the shoes ownership rights in the master recordings. ages, though, vary from deal to deal. of the fi rst label. In return, the second label The distributor’s cut is typically 18 to 25 normally agrees to pay to the fi rst label a cash percent (and sometimes higher) of the whole- TYPES OF DEALS WHEN LABELS advance and a royalty on the label’s future sales sale price of the records, plus the distributor is DO DEALS WITH EACH OTHER of records featuring that artist. This was the entitled to be reimbursed out of sales income Licensing Between Labels: Here one kind of deal done, for example, when Geffen for any out-of-pocket costs incurred by the label owns the masters, but “licenses” (i.e., Records acquired the rights to Nirvana from “Usually the major label will own SubPop Records. (in perpetuity) all masters produced DEALS SPECIFIC TO THE MAJOR LABEL WORLD during the term of the production deal, With the various kinds of deals mentioned above, a major distribution company or major though there are sometimes some fairly label may or may not be involved in the deal. On the other hand, there are certain kinds complicated reversion or ‘buy out’rights of deals, as mentioned below, that usually only in the contract.” happen when there is a major label or major distributordistributor – fforor eexample,xample, dduplicationuplication ccostsosts leases)leases) the mastmastersers toto anotheranother labellabel forfor a lim- distributor involved. These are as follows: incurred by the distributor. The deal may be ited amount of time (usually in the range of Fulfi llment Deals: You occasionally see limited to a particular region or country, or two to fi ve years), during which time the label this type of deal with the “major label” level dis- may be worldwide. receiving the license will have the rights to sell tributors. This is basically the same kind of deal Distribution deals with large distributors records made from those masters. The label that as the “P&D” deal described above, except that are often structured to be in effect for a two to owns the recordings will continue to own the here the records are not distributed through fi ve year time frame. With some smaller dis- masters at all times. a major label’s traditional distribution system tributors, the contract may provide that either The party receiving the license pays a roy- (for example, in the case of Warner Bros., the party may cancel the distribution deal upon alty for each record sold to the label that owns distribution company is called WEA Distribu- thirty to ninety days notice. the recordings. Usually the royalty will be in the tion), but instead through an ostensibly “indie “Distribution Only” Deals: Basically the range of fi fteen to twenty percent of the retail Continued on page 12
Page 4 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 5 just plain awful; rain, wind, mud; you see where I’m going with this. I worked for promoter Ryan Moore during that fi rst one and even though it rained there was still magic. Ryan put us up in a nice hotel about ten miles from Horning’s and shuttled us back and forth each day. The Gypsy Moths did a CD release at Arti- choke Music Backgate Stage on June 28th and sadly had to turn people away at the door, so they’re doing another one at Artichoke on Saturday, July 26th. Doing what they call Urban Folk, The Gypsy By Lisa Ford Moths are Raina Rose and Meredith Cushing. It’s hard to fathom that they’re only 21, but sound like e took a little trip over to Mojo’s Grant doing the production, buzz band Dahlia, of they’ve been about their craft since infancy. Their in Vancouver to participate in whom Ryan says “it’s their best record to date”, Jeff music has hints of infl uences from Ani DiFranco Wtheir Wednesday Night Jam. It’s Leonard, former bass guy for Tom Grant, and an EP and Joni Mitchell, but comes down squarely as hosted by the Wise Guys who turn out to be some for Purusa to promote their new album their own Portland sound. They’re playing 90% real heavyweights in the music industry. The Guys are taking Jam Night to a new level, with dates on Tuesdays The Icehouse and Wednesdays at Mojo’s. Both places are in Vancouver. The Tuesday night gig is geared more toward the electric side of things (although they’ll let you plug in your Martin or Taylor) and the Wednesday is more acoustic (though they’ll let you plug in your Strat or Les Paul). These guys are serious musicians with dis- tinguished track-records, but they’re as gracious as they are talented. Eric “Papa” Donaldson, (Cold Blood, Gary Wright), Gary Fountaine (NuShooz, Curtis Sal- gado), Rick Galarneau (China Watch), Edwin Fountaine (Herbie Hancock), Stanley Pavlas and the addition of Alex Bay on drums invite all comers to come and sit in with a world-class band backing them. Kevin Hahn is busy upgrading and remodel- ing his already ultra-cool Opal Studio and doing gigs with his band the Red Sector. Slowrush alum- nus Rob Daikker is a part of that band. Kevin and I Wise Guy Gary Fountaine. photo Buko go way back to the early to mid-nineties when we all hung out and participated in Portland Songwriters’ Bob Horning of Horning’s Hideout says originals and doing so with a maturity beyond Association events and before he started building that this year’s String Summit was an unqualifi ed their tender years. Opal Studios. I’ve got to get over and see his digs success. The weather was outstanding and so was Red Carpet Treatment owners Gavin and there. He’s also getting married. the crowd. People can come and camp out for the Wendy Pursinger had the R&B band Water Ryan Foster at Freq. Mastering is getting a lot whole weekend and visit a phalanx of food and over to track 3 cuts on their 2” 16-track analog of jobs. He has an exclusive list of clients and is crafts vendors. The 45 ft. wide by 25 ft. deep main machine for their new album. Not everyone has mastering projects for: Dr. Lonnie Smith and David stage sits at the bottom of a natural grass amphi- gone totally digital. They’ve also got Little Sue and “Fathead” Newman, who are doing a jazz tribute theater with the backdrop of a cool little lake where Lynn Conover working on mixes for their upcom- ing CD “I’ll Be Your Mirror”. The Gypsy Moths did a CD release at Artichoke Music Remember The American Girls? This was yet another band that Ezra Holbrook had a large Backgate Stage on June 28th and sadly had to turn hand in. They went through the well-known meat people away at the door, so they’re doing another one grinder of the pop music industry and emerged at Artichoke on Saturday, July 26th. exhausted and frustrated wondering which door to open next. The band dissolved because of the stress to Beck. They’re getting some great reviews from folks can go out on little boats whilst listening to in 2001. Instead of packing it in, though, lead singer lots of places including Rolling Stone magazine. world-class musicians. Yet another stage sits off in Higgins, guitarist Scott Georgis and drummer Dan Sounds interesting. Ryan is also working with a secluded little spot out of earshot from the main Stieg have stayed together and vowed to enjoy Singer/Songwriter McKinley, pop-rocker Jamey stage for smaller and more intimate settings. The their music and have named the new band Odds Hampton, Mary Kadderly, a band from Boston whole place is wired for sound and has all the ame- Against Tomorrow. They characterize themselves as named “Heather Hates You”, Everyday Victory, jazz nities for major league concerts. The fi rst String “slightly darker (I’ll bet!), just as emotional, edgier singer Sandy Dennison with Darrell Grant, with Summit happened last year and the weather was Continued on page 23
Page 6 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 7 photo Pat Snyder Festival of Bands at Rose Festival-Live Show Commentary and blistering percussion rhythms. Do be beguiled Jennies new CD, “Stratosphere.” Creating acutely his is Portland. How can they call that by the siren song of swirling female vocals painted crafted hook-bearing songs that remain affixed in a festival of bands? Where were Floater across the canvas of unique musical combinations. your personal fast movers section has remained Tand Anger Management? I kept waiting Look for this release in September 2003. the Spinning Jennies purpose for five full-length and waiting. If some high school band from Butte CD releases. Absent from “Stratosphere” are the can make it, these guys must have been desperate. Phamous Phaces- King of the World clouds of darkly tainted lyrical imagery and the What about the Phamous Phaces and Jonah? What op tops and Vox amps come to melodiously ascending angst of personal pain. kind of edge can a band from Pleasantview have? mind when you hear this wonder- This is high-orbiting, hand-clapping, harmoni- There must be a hundred people in some of these Mful band’s new release for the Inter- cally-hopped West Coast Indie power pop in its bands. What venue is gonna hold that and how are national Pop Overthrow compilation CD due to golden moment. they gonna split the door? be released soon. So in love with the sounds of On its cover, “Stratosphere” supports a pop Here’s my advice. These bands are way too big. the 60’s are the Phamous Phaces, that their music image with a brightly embellished background Trim it down. There must be six or seven guys play- for the last two discs has gone fully over the top sporting electric-hued “Yellow Submarine” style ing the same instrument. And don’t move around to embrace, flaunt and deliver this genre in all graphics. This upholds a minor deception though, so much. I like a band that’s animated on stage original music. On this particular song, “King of because this is no blonde submersible. This is a hot but that choreography stuff never impressed me. the World” you are taken straight back to the early rod spaceship and the band’s music blasts across It takes a whole football field to turn some of these “Who.” The production is sparkling clean. Even the the universe with the aura of muscle guitar sounds bands around. drums sound vintage. In addition to this song for and a poppy chorus of “ooh ooh ooh’s” pulsing If Portland wants to be taken seriously as a the International Pop Overthrow compilation CD, from the engine. music city, we’ve got to get a handle on this. the Phaces also have a new full-length CD coming On the title track, the unstained, crimeless out so keep your eyes open. vocals of singer Jeff Shelton cruise amidst colorful Sizzling Summer Sneak Peek CD Previews keyboard synth lines and driving guitar rhythms. Raucous AB CD Reviews His smooth voice is flavored by a chorus of pol- Sepia- Self Titled ished harmonies. Add these engaging vocals to the Don’t be beguiled by the innocent sounding The Spinning Jennies- Stratosphere infectious drumming of Nick Laquintano and the name, Sepia is anything but that funny shade of CD - JAM Records resolute bottom end supplied by bassist Doug Free brown in your crayon box. With a dark, melodic mix hundering guitars, confectious melo- and it equals a very addictive recipe for power pop. of sounds, this music may best be described as folk- dies, and thrust-worthy tempos are tronic, as guitars mingle with trip-hoppy samples Tthe main ingredients of the Spinning Continued on page 29 Page 6 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 7 Here Comes The Blood Man - JVA doing voice-over work for local commercials. It Self-Produced was in that capacity, while portraying a character VA is the current nom de band of one in a children’s video series, that Walker met Craig Jim Walker, who, for most of the past Carothers (who also had a role in the video). In Jten years, has masqueraded in these 1995, Walker became the keyboard player in environs as Jeroan Van Aichen. Walker is no Carothers’ band. They worked together on Jimmy-come-lately to the music business. He numerous projects after that. was deeply entrenched in all aspects of perform- This particular album, JVA’s sixth, was ing long before he ever showed up in Portland. He recorded over a period of six years, by Walker was highly involved in community theater in his and engineer Craig Brock (here referred to as hometown of Los Angeles, even before he formed “CB Rock”), who recently moved his Pound- the band Lost Anthony, which regularly played in house Studio operation to Mexico, although it is clubs throughout Southern California. rumored that, due to unforeseen circumstances, Later, Walker contributed songs and scores he may soon be returning to the United States. It to several films as well as lending his voice to is mostly a true solo album, with Walker playing countless radio and television jingles- eventually all the instruments on many of the ten (eleven, doing voice-over work for the “Alad- counting the “secret track”) songs However, din On Ice” touring show and drummer Gregg Williams makes a couple of the Teenage Mutant Turtles’ appearances, as does bassist Willy Barber. A few “Six Flags Tour.” For a short other musicians also fill various backup roles, as time, while still in Califor- well, through the course of the project. nia, Walker (as Jeroan Van For the above reasons, this is a fairly laidback Aichen) signed recording affair, with Walker’s boyish vocal delivery given contracts with RCA and center stage on all songs. There’s often a raspy, Geffen: deals which both edge to the Paul Simon-like ingenuousness of quickly evaporated. his voice, as if Walker picked up a little of Craig Tiring of the LA Carothers’ vocal grit to add to his own presenta- music business grind, tions. At other times he sounds like the sensitive Walker re-located to Portland songwriter type, ala Elliott Smith, Mark Everett, in the early ‘90s, seeking a fresh better known as E of the Eels, or the Swedish start in the burgeoning North- sensation Sondre Lerche Only on the hilarious west scene. To make secret track, “Bakersfield,” does he depart from ends meet, he that sort of personae, to become someone other. b e g a n Musically, Walker covers a wide range of styles, venturing from straight-ahead folk-rock arrange- ments to blues and reggae, even landing briefly in the Sting/Peter Gabriel sphere of arena-emo- rock. And “Bakersfield” is something altogether different The lead track, “Beating,” starts the album off on the right foot, with Walker’s piquant acoustic guitar backing his forlornly wispy vocals on a song that seems wistfully reminiscent, in structure and mood, of Simon and Garfunkel’s “The Boxer.” “He is teeth, and he is sinew/He is muscle. He is meat/Veins are swol- len with his anger/Pounding with the blood and heat.” Walker’s percussive, palm- muted electric guitar backing on the eerily dark “Rachel,” creates a taut, tight tension and a suffocat- ing atmosphere- which is perfect for his subject matter: apparently about the murder of the aforementioned Rachel and the quick disposal of her
Continued on page 10
Page 8 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 9 Summer is here! decided we’d seen enough and headed into Seattle. down and we watched Allan’s movie. I thoroughly verything Must Go by Steely Dan is my On the way into the city, the traffi c going toward enjoyed the story of a young ice fi sherman from musical pick for July. The house feels the venue was slow so we knew immediately we had Minnesota, who runs into a bunch of shady char- Ealive with new music and I’m singing made the right decision. We were invited to stay at acters after his mother is tragically struck and killed the words to ‘Things I Miss Most’. I can’t tell you a friend’s house that was out of town, but had left us by a hit and run driver. Troy Garity, Debra Monk, how many times I’ve listened to the new release, or the keys to her fantastic home on Queen Anne Hill. Bruce Dern, Randy Quaid and Josh Brolin were all why Steely Dan fans are sending me all the recent We freshened up and then went to brilliant in their ensemble work. And Allan’s direc- interviews and news about dinner at the Palace, which was tion was marvelous. Allan was the epitome of grace the happening duo, but it’s delicious. The clams and trout the entire evening and when the movie was over, all-good. I love Steely were delectable and the wine was he invited us to he after-hours party at Cascadia. Dan and will be sublime. After dinner we headed to the Allan, Heidi and I, the cast and crew partied into s e e i n g the early hours. I did not put together that the star of the movie Troy Garity, is Jane Fonda and Tom Hayden’s son. He was great in the movie, but in person he is such a handsome young man. He was very polite and it felt magical sitting with Troy and a beautiful ‘healer’ from Portland. Allan seemed tired but very happy about the movies sudden suc- cess. He told Heidi about going to Cannes and them on August I how hard it was to get the fi lm fi nished. He 1st at the Rose Garden. I’ve been said a few months ago he was in bed depressed listening to Bare by Annie Lennox and then suddenly he was on his way to France. who I always support. The record Somehow, the whole world turned around. He has that disco/tech quality, but I remembered that we had met in Seattle seven like ‘The Hurting Time’. Dave years ago and asked me about a book I had been Matthews Band will be at the Rose working on. I told him about my twelve rejec- Garden August 4th. They are always tions and Heidi told him I pissed off half of worth the price. Portland because I hadn’t changed the names I’m happy to report Seattle still to protect the guilty. Allan looked me in the exists and the Emerald City is still a eyes and said “Rosebud, don’t give up. It may great place to party. Heidi Snellman not be your friends who will help you.” After invited me to the Heart/Berlin open- we dropped Allan at his hotel, we went to ing night extravaganza for the White Queen Anne Hill and felt like Queens. The River Amphitheater. The beautiful next morning we had breakfast with Audrey spot is right in the center of an Indian VanBuskirk and her son Luke. Audrey and Reservation. It was a beautiful drive Heidi discussed the ups and down side of and we arrived around 5:00pm for the Seattle. I told them that I’ve never lived in ribbon cutting. Karen Donovan, who Seattle, but I always like visiting. Audrey looked like she ran the whole event, was told us that NXNW would not be happen- right by the front gates. Heidi and I got ing during Bumbershoot. to say hello and congratulate her on The Biennial at the Portland Art her new job with ClearChannel. Karen Museum was a jam-packed event. Lot’s of told us the ribbon cutting was going to friends and foes. It was hot and loud and I happen any minute so we stepped to the liked what Cynthia Star was wearing. Her center gates. Some Elders of the Indian mother and father were introduced to me Nation were there looking tall and regal, and they seem like awesome parents. Star’s Boys will and to cut the ribbon. Then the Wilson Seattle International Film festival be boys series was beautifully humorous. sisters made an appearance. Nancy and 2003 where we were invited to the screening of I have to report that this columnist does many Anne looked great and Cameron Crowe was on Milwaukee Minnesota. The director Allan Mindel things, but one thing I fi nally accomplished was hand taking home movies. The amphitheater is was at the door waiting for us. He escorted us to becoming a Journeyman Stagehand. After many years of study, I fi nally have upgraded to an “A” “Heidi Snellman invited me to the Heart/Berlin card status. After getting the results of the three- opening night extravaganza for the White River hour test, I went on a three-day bender. I’m just coming out of it now, but I should write about Amphitheater...Some Elders of the Indian Nation were my fraternal brothers and sisters who were good there looking tall and regal, and to cut the ribbon. to me during this trial. Many humble thanks to Jeff Patti, Chris ‘Radar’ Bateman, Rayn Jacks, and Then the Wilson sisters made an appearance. Nancy Jim Burbach. With this accomplishment I know and Anne looked great and Cameron Crowe was on that I still have a lot to learn. Also, I look forward to my next challenge. hand taking home movies.” Write to me: beautiful but daunting in its size. After the cer- the section where the producers and production [email protected] emony we stayed for the sound check and then people were seated and immediately the lights went LL
Page 8 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 9 by sounding like an early Peter Gabriel number, these thoughtfully deep songs a chance to seep perhaps like the Gabriel who sang during his last into their consciousness. Jim Walker is a real days with Genesis, although Walker’s voice is songwriter, a true storyteller. His songs contain about a half an octave higher than Gabriel’s. The poetry that requires an attention span. His (and Continued from page 8 chorus swings more toward a Sting-like arrange- Brock’s) arrangements, while stripped down and lifeless body. “Green tractor at an old red barn. A ment, from his “Fields Of Gold” period. A lovely sparse, still contain a powerful impact. dog barks from a pickup truck/The crick chubbles overdriven guitar solo spills like frosting all over That there is a lot of stylistic variety could be beneath my feet I’ve got a body tied up in a sack/ the middle of the song. “Thin Air” is an appropri- off putting to some, but there are enough elements Pawprints in the raccoon mud. Wet nettles on my ate hymn to end the album which remain in place (specifi cally, his vocals) to goosefl esh skin/Dirty water to my cold, dry lips. However, there is that “secret track” tacked on lend cohesion to the album, as a whole. Walker’s I’ve got my Rachel in my arms again.” at the end. “Bakersfi eld” has no antecedent any- music is accessible, without being trite. It is intel- At the end of the tale, a scene unfolds, as where else on the album. It is certainly ligent without being condescending. It is complex evocative as any image from the surreal ‘50s fi lm one of a without being obfuscatory. Obviously, Jim Walker classic “The Night of The Hunter.” “I fl oat my has spent most of his adult life mastering the craft sugar down the river’s joints. of songwriting. It plainly shows in his work. I watch it carry her and lay her down/The sun rises The Die Jobs - The Die Jobs on her sinking nails. She’s Self-Produced going under he Die Jobs have been torment- now without ing the local punk scene for the a sound” past two or three years, with a Harrowingly T hard-driving sound, combining elements effective stuff. of X, the B-52s and any number of pertinent The saunter- SoCal rockabilly punk bands. This fi ve-song ing waltz “Laugh- EP was recorded last year at Jackpot Records ing Now,” recalls and was mixed by Larry Crane, lending the latter-day Glenn band a big, tough sound that crackles with pure Tilbrook and Squeeze, with various keyboard photo David Ackerman “Subtlety is not a word textures providing most of the aural scenery; in the Die Jobs’ vocabulary. They until twin guitars solo in are about as subtle as a car crash. But, the middle. The clunky, chunky rhythm guitar on the Die Jobs. that being said, the band displays a sense verse of “North Beach Tuesday” of unity and cohesion in their presentations.” gives way to a chorus seemingly copped directly from the Monkees songbook: the logical succes- kind. Think of Sean Mullins and Lee Hazelwood energy. It couldn’t have taken too long to record, as sor to their hit “Pleasant Valley Sunday.” In fact, doing a mournful duet on “Some Velvet Morn- no song is much over two-minutes in length. Walker’s cooing vocal could easily pass for that of ing.” Then add in Harry Nilsson’s recording of The band is more or less an all-star team, Davy Jones (Mickey Dolenz sang on the original). his original song “JOY,” and you have some small fronted by guitarist/vocalists Lisa Furr (Lady His perfect organ tone on the solo echoes those idea of the emotional gravity of this opus : a tale Speed/Lady Speed Stik) and Steve Casmano played by the Fireballs’ on “Sugar Shack” and Del of one young man’s unfortunate experiences in (Sado-Nation, Jackals, Flapjacks), who goes by Shannon’s “Runaway.” Sublimely rendered. scenic Bakersfi eld, California (I could tell you of the name of Toot Moses here, bassist Zoe Masser A loping shuffl e, “Pelican,” a track that took some others, but I won’t), where adult cruelty (the Ex-friends) and drummer Billy Brahm who several years to complete, feels like an old Neil and hatred rears it’s ugly head for the fi rst time has played with Aunt Ida, the Miss-U’s and the Young song from the days of Harvest, although in the boy’s life. Shandies Walker sounds nothing like old Rusty. A nice Over a familiarly repetitive descending key- The fi rst half of the album is dedicated to guitar solo decorates the middle section. A moody, board line, distantly related to Bach’s “Air On A G Furr’s hard-bitten rowdy rants, while the back-half bluesy number, “Sleeping In Your Arms” traces String” (hence, related to Procol Harum’s “Whiter belongs to Casmano’s more esoteric creations. The a descending chord progression in the verses, Shade Of Pale” and Percy Sledge’s “When A Man band is relatively tight, performing some interest- moving to fine, Beatlesque three-part vocal Loves A Woman”), a choir of ranch hands sing ing tricks over the course of this short set. harmony in the turns. Smolderingly restrained. the powerful chorus- “Bakersfi eld, hot town of “Bitch Whore” pretty much sums up most “All Up To You” is a straight-up reggae number, heat/A hamlet like heaven above/Bakersfi eld, river opinions on the issue. Furr’s swooping guitar propelled by a lunging organ tone and fi ne horn of dust/Showering big dreams and love.” Wow! It fi gure acts as the loci, while she yammers on about charts contributed by the Woolies (Clark and seems likely that this is a true story- rather ter- a certain unsavory female counterpart. She then Gavin Bondy and Tom Hill). A classic nocturne rible in an everyday occurrence sort of way- which fi res off a gnarled, twisted guitar solo that seems of a guitar solo in the middle helps this number makes the whole production even more operatic to lock the entire piece into focus. Celebrating to simmer without boiling. than it might seem at fi rst. the joys of a cough syrup high, “Tussin’” merrily The murkily ethereal arrangement of “Sleep- This is an album that invites repeated audi- rolls along, with another kick ass guitar solo in walking” creates a foggy ambience The song begins tions; offering rewards to those willing to give the middle by Furr. Funny stuff.
Page 10 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 11 A slower strut, reminiscent of Ted Nugent’s Nein. These Neins are a sprightly quartet, who Kaufman or Joe Ennis play very many solos. In fact “Cat Scratch Fever,” kicks off “Psycho Jacko” as subscribe to a similar punk ethic as that of the Die Ennis’ extremely cool organ solo, on “SPF 500,” the intro builds slowly, before bursting forth with Jobs. However, in this case the band is comprised and crazy antics on the epic “One Ugly Child,” the frenzied urgency we’ve come to expect from entirely of male members (as it were), rather than distinct throwbacks to the instrumentals of the the Die Jobs An extremely strange break in the distilling any distaff opinions into their world ‘50s and ‘60s, are practically the only solos on the middle adds to the excitement. It almost seems view. Purportedly, one of the members played entire album. But they’re a great ones. as if the band stalls in mid-fl ight, before pulling with Poison Idea for a time, although extensive Kaufman and bassist Charlie Nims share the out of the nosedive. As far as can be ascertained, research does not bear that claim out. vocal duties (on the nine songs that have vocals). this song seems to not be about the noseless one, As a unit, the Neins are a little loose around Songs such as the raw and raucous, organ infused Michael Jackson. the edges, but they display a good sense of humor “Don’t Take It Personal” and “One Ugly Child,” Casmano takes over the lead vocal duties and, obviously, do not take themselves too seri- catch the ear every time. The band displays a pen- on “Martians Are Comin’ And They’re Pissed,” the intro of which makes a brief allusion to the “As a unit, the Neins are a little loose around the fi ve-note fi gure popularized in Close Encounters edges, but they display a good sense of humor and, Of The Third Kind (this musical reference has been utilized many times before by several bands, obviously, do not take themselves too seriously. beginning over twenty years ago). Eventually, the This is not to say they are a pack of goofballs, song lurches forward with a 1-4-5 chord progres- sion that calls to mind the riff to Pat Benatar’s only that they do not exhibit the usual sense of “You Better Run,” although this version punk anger.” considerably meatier than the chant for solid four-chord riffs, or the equivalent original basslines- giving them a distinct Kinks “Rhinestone” is meets Paul Revere and the a moody number, Raiders, ‘60s feel, with in a minor key, that ‘80s overtones and ‘00s features a straight- sentiments. A band for ahead guitar solo from the ages perhaps? Per- Furr, right off the bat. haps not. The song seems to Most of the be dealing with the songs are not so much issue of misplaced memorable as familiar, personal values in though not specifi cally an ever more imper- derivative, as such, and not sonal society. A suc- bad. There are some clever cession of fi ery guitar solos hooks here and there. puts the capper on the set. The instrumentals “SPF Subtlety is not a word 500” and “Black Cat” in the Die Jobs’ vocabu- demonstrate an allure, lary. They are about as although the latter is just a subtle as a car crash. But, bunch of chords strung together, that being said, the band without much meat on the bones, displays a sense of unity and melodically- which probably works cohesion in their presentations. The Neins. photo David Ackerman much better in a live setting, than within the They display a sense of humor in their songs- most ously. This is not to say they are a pack of goofballs, permanency of the recorded medium. contain wryly sarcastic lyrics. They are reason- only that they do not exhibit the usual sense of The Neins display a certain charm. It really ably tight as musicians (the guess is that they are punk anger- even though their songs conform seems that with the material they write, that they playing down, somewhat, in order to conform to to other aspects of punk: most songs clock in should slow the tempos down a tad, concentrat- certain stylistic imperatives imposed by the punk at around two minutes and change. But with the ing on the songs, rather than the energy (which ethic). They play well together and seem to be typical exacerbated tempos, the lads cover a lot of can always be re-added later- and probably will having a great time. And that, after all, is what musical ground in a short period of time. Also, be anyway). The songs, for the most part, as they rock music is all about. the anger quotient is rather low here. There’s not are, are incomplete. A little more time spent craft- much venomous shouting. And except for “Thaw- ing the songs- sharpening their lyrical focus, and The Neins - The Neins ing Out” and “Safe Sound Blues,“ not a lot of vent- developing their musical points, might yield Self Produced ing. So maybe these guys are more of a garage band something more enduring. he Neins used to be the Nines, but than a punk band But- there it is. most likely there was some band in Recorded at Smegma Studios by the legend- TMichigan (or somewhere) with the ary Mike Lastra, the eleven songs here fi nd the same name, so the Oregon version changed their band cutting out anything unnecessary. Drum- name to the Neins (as in the German, the oppo- mer Steve Powell rarely even plays a fi ll (“Thawing LL site of ja). So, one would suppose, Nein means Out” is the big exception), nor do guitarists Dave
Page 10 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 11 to continue the deal for a certain number of years after that. However, the major label will often have the right to terminate the deal if its Continued from page 5 losses reach a certain specifi ed dollar amount. (This is referred to as a “stop loss termina- distributor” that is owned by the major label tion.”) TWO INTIMATE EVENINGS WITH distributor. This “indie distributor,” acting on In the case of the production deals and PORTLAND’S FINEST SONGWITERS behalf of an indie label, then ships such records equity deals mentioned above, the major labels as are ordered by indie sub-distributors and have lost a lot of money on some of these deals indie record stores, and it also handles all billing in recent years and as a result, are now much MYSTERY GUEST responsibilities. In short, the distributor’s role more cautious about entering into these kinds LITTLE SUE here is to fulfi ll orders from third parties for of deals, especially in situations when these the indie label’s records. types of deals are in effect given as “vanity EZRA HOLBROOK Production Deals: The “indie label” here deals” to top-selling artists. SATTIE CLARK is usually just a production company fi nanced Equity Deals: Think of ‘equity’ as LYLE FORD by a major label, and is created solely for the having an investment in something. purpose of producing records. The produc- With this type of deal, the major label JASMINE ASH tion company uses the label’s fi nancing to sign invests money in the indie label. In artists and produce records, and then delivers exchange, the major label acquires a 8:30 PM the masters to the major label. The label will BURLINGAME ACOUSTIC ROOM “The Joint Venture deal is usually for SW 1ST & ASH Tuesday, July 29TH an initial three to fi ve years, with the Cover $7 major label having an option to continue STEPHANIE SCHNEIDERMAN the deal for a certain number of years CHRISTENE LEDOUX after that. However, the major label LISA STRINGFIELD will often have the right to terminate LYLE FORD the deal if its losses reach a certain LARA MICHELL SEAN MICHAEL specifi ed dollar amount.” manufacture and distribute the records and part ownership of the indie label and 8:30 PM handle the marketing and promotion activi- the indie label’s assets and its contracts BURLINGAME ACOUSTIC ROOM ties. with artists and may have the right to The term of the deal is often for an initial purchase the remaining ownership of SW 1ST & ASH two or three years, with the major label having the indie label at a certain future point Wednesday, Aug 6TH the option to continue the deal for an addi- in time for a certain price, or with the Cover $7 tional two or three years after that. price to be determined on the basis of Usually the major label will own (in an agreed-upon formula. FOR ALL YOU ROCKERS THIS IS ROCK perpetuity) all masters produced during the term of the production deal, though there are Editor’s Note: Bart Day is a Portland-based WIZARDRY. FROM THE FIRST ACT TO sometimes some fairly complicated reversion entertainment attorney in private practice and is THE HEADLINER, THIS SHOW WILL LEAVE or “buy out” rights in the contract. also music counsel for Vivendi Universal Games, YOU SHELL-SHOCKED AND STUNNED! Joint Venture Deals: The term “joint the computer game division of Universal Stu- venture” indicates a joining of forces by a dios. major label and an indie label, whereby they Bart is also the co-author of a chapter CHAIN OF BEING agree to share responsibility for the making of (entitled “Contracts and Relationships between HOU-FARR-LONG records and the marketing and promotion of Major Labels and Independent Labels”) in The PONGOO those records. These responsibilities are divided Musician’s Business and Legal Guide, a book in whatever way the two labels agree upon in compiled by the Beverly Hills Bar Association EGO MACHINE their formal joint venture agreement. The and published by Prentice-Hall Publishing (New major label fi nances the joint venture. Then, York). MT. TABOR THEATER from records sales income, the major label will The reader is cautioned to seek the advice of FRIDAY, AUGUST 15 reimburse itself for the expenses that it has the reader’s own attorney concerning the appli- incurred, and the net profi ts are then divided cability of the general principles discussed in this DOORS OPEN AT 9:00 column to the reader’s own activities. COVER $6 between the two labels, usually 50-50. The deal is usually for an initial three to LL fi ve years, with the major label having an option
Page 12 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 13 An Unreel World with tube electronics, the only Lake Oswego one in the NW. Lexicon PCM 60, (503)639-9364 PCM 70, PCM 90. Yamaha SPX Email: [email protected] 900 multi-effects. MasterRoom Owner: Karin Kopp XL305 spring ‘verb. Signal Processing: TC electronics Anonymous Noise 2290, Urei 1176 LN peak comp/ (503)248-2136 limiter ,Urei LA3As, LA 22. Lex- Owner: Karl Brummer icon 97 Super Prime Time Line DDL, Drawmer 201 dual gate, Apache Recording Studios SX 201 and SE-400 parametric 4009 E. 18th St. EQ. 4 DBX 160X Compressor/ Vancouver, WA 98661 Limiters. Ax Compellor stereo Vancouver phone: (360)694-5381 compressor/leveler. Ax Type Portland office: (503)293-9266 C exciter. Lexicon JAM man DDL/sampler/looper MIDI APA Studio setup with Roland D550, Mollala, Oregon R-8M, Korg M1REX,. Korg (503)730-5347 800EX, Emu Proteus 2, OB Owner:JR Boykin Matrix 1000, Yamaha TX81Z. Engineer/Producer Smokey Partial list of labels & artists: Windham Whatever your needs, Ronn Chick Wymer(503)760-3918 Hill, Narada, Sugar Hill, Hearts of Recording is a full service facility Rates: New Band Demo special * 5 hrs Space, Green Linnet, Nightnoise, John capable of providing demo recording, Dave’s Attic Productions for a hundred bucks*$30 hr additional Doan, Alasdair Fraser, Kevin Burke, orignal composition, digital Washington Square Area time. Martin Hayes, Hanuman, Johnny editing, and post production assistance Portland, OR Use our Pro Tools or Roland Connolly, Alan Jones, Portland Acoustic for all your needs quickly (503) 768-9336 Mackie setups. 24+tracks. Sweet Mics Guitar Summit, Dave Carter/Tracy and affordably.Please call for rates. Owner: David Fleschner & Outboard Gear. Use our engineers or Grammer, N’ Touch Band, Rhythm bring your own. Triton 88 workstation/ Culture, Sugar Beets, Tom May, Jim Crossroads Productions Dead Aunt Thelma’s Studio sampler. Roland Vdrums. Fender Page, Gino Vanelli, Chris Lee/Colleen 7708 NE 78th St. PO Box 82222 Cybertwin. Obrien, Cold Mountain, Steve Pile, Vancouver, WA 98662-3632 Portland, OR 97282-0222 Taarka, Everything’s Jake, Beppe Gam- (360) 256-9077 (503) 235-9693 p Big Red Studio betta, Dan Crary, Belinda Underwood Web: www.crossroadsproductions.net (503)238-9627 f Corbett, Oregon with David Friesen and Airto. Email: [email protected] Web: www.thelmas.com Producer/engineer: Billy Oskay Studio Manager: Ron Stephens Studio Manager: Mike Moore 2nd Engineer: Jordan Kolton Blue Dog Recording Studio Assistant: Danielle Jenkins Office Manager: Nicole Campbell web site: www.bigredstudio.com 1314 NW Irving Engineers: Paul Ehrlich, Craig Smith Owners: OCP Publications e-mail: [email protected] Portland, OR 97209 Tracks: ProTools HD 192 w/24 I/O and phone: (503) 695-3420 (503) 295-2712 lots of plug-ins; Otari 2” 24 and 3M DeFunk Audio/Sonare Mastering Unique package rates and financing of Email:[email protected] 1/2” 2 trk. 4531 N. Albina Street projects. Web:www.bluedogrecording.com Equipment: Neve 5315 console; Portland, Oregon 97217 Facilities: 18 X 28’ performance space Owner: Bruce Robertson Focusrite, API, Manley and Altec mic (503) 288-3353 which can be divided for isolation. Ceil- pres; URIE, Spectra Sonics and Smart Email: [email protected] ings vaulted to 17’. Ronn Chick Recording Research limiters; AKG, ATM, CAD, EV, Owner/Engineer: Sean Gilbert Yamaha C7D grand piano, C Fox 1209 NW 86th Circle Microtech-Gefell, Oktava, Rode, Tracy- Napa acoustic guitar, and 1902 Estey Vancouver, Washington 98665 Korby, Shure, Soundelux mics; Lexicon Doctor Digital; The Sync Ward Studios harmonium. (360) 571-0200 960L, Eventide, and TC Electronics Portland, OR 17’ X 24’ control room Isolated Owner/Engineer: Ron Chick effects. PMC and Yamaha monitors. (503) 892-0043, 1-888-373-4485 machine room Coffee bar/Lounge area. Equipment list: Recording: 48 input Call or write for exhaustive equipment Email: [email protected] Available organic catering. Horseshoes, amek angela,Mac G4 daul 850,Digital list. Owner: Mark Frethem campsites, fire circle and hiking trails performer 3.1 24 bit 5.1 ready,16 chan- Instruments: Yamaha C5 grand w/ on property. Sight-seeing, fishing, nels Alesis adat. Gulbransen midi mod; B3 w/ 122 Don Ross Productions restaurants, and lodging nearby. Monitors: Mackie. Leslie; Pearl and Slingerland drums; 3097 Floral Hill Drive Equipment: Otari MTR 90II 2” 24- Outboard gear: Avalon.Focusrite,Cra Vox AC-30, Gibson GoldTone, Rivera, Eugene, OR 97403 Track with autolocator, Fostex 22 1/2” nesong, Symetrix, Urie/JBL, Lexicon, Line 6 guitar/bass amps. Too many (541) 343-2692 Fax: (541) 683-1943 at 30 ips 2 track, Mac G4, Pro Tools, Roland, Sony, TC electronics. synths and MIDI tone modules to list. Email: [email protected] Digital Performer, Otari MX5050 1/4” Mics: AKG, Audio Technica, Shure, Notes: Designed by Russ Berger, and www.donrossproductions.com 2 track, Panasonic sv 3700 DAT Naka- Octavia. built to his exacting specifications, Owner/Engineer: Don Ross michi MR1, Tascam 2000 CD-RW. Client list:Network TV: Dark Angel Crossroads Productions is the area’s Tracks: 32 track Digital, 24 track Analog From England, hand wired Trident (wb)the Young And The Restless (Cbs), largest dedicated recording facility. Rates: $70.00-$85.00 TSM 40 input, 32 monitor, 24 bus. The Nfl Under The Helmet(fox), The The distraction-free environment is Equipment: Otari MTR90 II 24 track sound is big, warm and very analog. Mattew Sheppard Story (nbc); especially conducive to creativity. Due 2‰ Analog, Digidesign Pro Tools Mix Monitors: Audix Nile V, JBL, Yamaha Cable TV: Inside The Nfl (hbo) to the acoustically accurate control + w/ 3-888 24 I/O’s, SSD, Waves gold NS10s, Auritone and AKG, powered by Sportscenter (espn), True Hollywood room and PMC monitors, Crossroads bundle, Bomb Factory, Meek & many Hafler, Parasound and Oz Audio. Story (E!), Wild On (E!) Celebrity has also become a favorite Mastering other plug ins, 24 trk. Tascam DA-88’s- Microphones: Neumann U87s, 47s, Profile (E!); facility used by other local studios. mods by Audio Upgrades w/RC 848, 49s, KM 88s, U 69s, KM 84s , custom Syndicated TV: Extra, Access Hol- Clients: Wayne Krantz, Bobby Torres, SY88 & IF88AE, Tascam DA30 MkII, modified by Klaus Heyne Classic mics lywood, National Enquirer, The Riki Gary Ogan, Jon Koonce, Anne Weiss, Fostex D-10 Time code DAT,Tascam from RCA, AKG, Sennheiser, EV, Shure, Lake Show; Brett Williams, One Shot, Sky View HS, CD-RW5000 CD recorder, Revox PR-99 Beyer and Crown. Commercials: Jolly Rancher, Coors Prairie HS, Woodland HS. MkII & B77 1/2 track analogs; Tascam Reverbs: classic EMT 140ST Plate, Light, Continued on page 14
Page 12 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 13 Cranesong Hedd 24 bit A/D &D/A , GML 9500 5 band Mastering EQ, Weiss EQ1 MK2 digital 7 band parametric, Falcon Recording Studios Manley Vari-mu stereo compressor, Weiss DS1 digital split band dynamics processor, Maselec stereo compressor, Genelec monitors, Mike Spitz ATR 100 1/2” Mastering deck, Tascam DA 45R 24 Continued from page 13 bit Dat Machine, Panasonic 3800 Dat machine, Dennon cd player, Dennon M-3700 32x8 automated console cassette decks, Mytek digital Mastering The leader of Rock, Jazz, Funk, Big Band and w/mods by Audio Upgrades; Genelec meter, Z-Systems 16 i/o digital router. Classical recording in Portland, Oregon since 1981. 1031,Tannoy NFM 8, Yamaha NS-10, Clients: Sony, Loosegrove, Sub Pop, & Auratone 5C monitors; Aiwa, & Astralwerks, FT Records, Resistor, Tascam cassette decks; Lexicon PCM Shortwave Records, Estrus, Elemental, 503-236-3856 80, TC M2000 LXP-1’s, LXP-5’s w/MRC T/K Records, Top Secret, Darla, Rain www.FalconRecordingStudios.com & Yamaha SPX90’s reverb/delays; Records, Burnside Records, Jus’ Family Manley ELOP, Manley Vari-Mu, Aphex Records, Bombay Records, M.A.H. 661’s,106, & 720 Dominator II, Draw- Records, Empty Records, Dohnut mer DL24, Ashly SC-50 comp/limit- Records, Rainforest Records, Cool ers; BSS DPR-504 & Aphex 105 Noise Nutz, Satan’s Pilgrims, Jesus Presley, Gates; Aphex Aural Exciter, Aphex 109 Silkenseed, Chata Addy, Gino Vanelli, & Symetrix SX201 parametric EQ’s; Land of the Blind, Ken De Rouchie Avalon 737SP’s, Millennia HV-3C, Band, Hungry Mob, Life Savas, Live at Neve 1272’s (4), Peavy VMP-2, Gaines Laurelthirst, Izaya, Heavy Johnson Trio, MP-2 mic pre’s. Mic’s: Neumann U87’s Daylights, Hummingfi sh, Kerosene (mods by Klaus Heyne), KM84’s(mods Dream, Loveload, Jollymon, Gus Van by Kaus Heyne), Lawson L-47MP tube, Sant, Systemwide, Grindstone,Floater, AKG 460’s, 451’s, Sennheiser MD 421, Countrypolitans, Here Comes Every- EV RE20, 408B’s, Shure SM7’s, SM53’s, body, Mel, E-40, Sally Harmon, Rattling & 57’s. Other Important Stuff: 1927 Thunder, Dickel Bros, D.B.A., Ras Kass, Steinway M grand piano, Kurzweil Kurrupt, B-Legit and many, many, PC88 MX, Ensoniq EPS, Opcode Studio more.(Please check out our website for 3, JL Cooper PPS-100, dk10 KAT, Alesis a more complete list). D4, Pre CBS Fender Super Reverb, Zoom 9050, JVC CR-85OU 3/4” video Fresh Tracks Studio deck w/SMPTE address trk., Sony 1813 S.E. 59th video monitors 13” & 20”, Fostex 4010 Portland, OR 97215 SMPTE, Symetrix TI-101 phone patch, (503) 235-7402 Telos Zepher ISDN patch & a Braun 10 Email: [email protected] cup coffee maker. Web: http://www.freshtracksstudo.com Clients: Sony, Disney, PBS, Mason Owners: Jon Lindahl Williams, Beth Singer, Justin King, Engineers: Jon Lindahl and Casey Spain Sugar Beets, Paul Chasman, Byron Tracks: 32, 24, 16, & 8 ( 24 tracks hard Berline, Strangers, Multiple Sarcasm, disk) 16 tracks of digital & 16 tracks of Betmars, Babe’s with Axes, Terry Robb, analog) David Jacobs-Strain, T.R. Kelley, Debbie Rates: $40 for 32 track, $35 for 24 track, Diedrich, Boogie Patrol, Tracy Bonham $30 for 16 track, & $25 for 8track. & many more-check out web site music Equipment: 2 each XT Alesis ADATS, client list at www.donrossproduction Analog 1” MS-16, Hard Disc, Cubase w/ s.com. Mark of the Unicorn 2408 (Multi Track recorder/automation/remastering), Falcon Recording Studios All synced via JL Cooper Syncron- 15A S.E. 15th izer, Pansonic CD Burner, 24x8x2 Portland, OR 97223 Soundcraft Mixing Console, ART MPA (503) 236-3856 dual tube mic pre-amp,DBX 266 Dual Fax: (503) 236-0266 Compresor/Gate,DBX, 160x, DBX 163x Email: [email protected] Compressor, Dbx163 Compressor, Contact: Dennis Carter. Biamp Quad Limiter/Gate, DBX 463x Gate, Yamaha 31-band EQ, Biamp Dual Freq. Mastering 10-band EQ, Rockman Guitar preamp, 1624 SW. ALDER #311 Rockman Stereo Delay/Chorus, Roland PDX, OR. 97205 SRV Reverb, Roland SDE 1000 Delay, (503) 222.9444 Art SGE Mach 2 Effects Processor, Web: www.freqmastering.com Alesis Midi Verb, BBE 802 Exciter,JBL Portland’s Pro Mastering Studio 4311 Monitors, Auratone Monitors, Contact: Ryan Foster KLH Monitors, Panasonic 3700 Master- Equipment: Sadie Artemis 24/96 ing Machine, Otari Analog 1/2 Track Mastering System, DCS904 24 bit A/D Mastering machine; wide selection & DCS954 24bit D/A both 192KHZ & of mics: (AKG, RODE, SENHEISER, DSD capable, Apogee1000 A/D & D/A, E.V., SHURE, BYER, AUDIO TECH-
Page 14 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 15 NICA) MIDI EQUIPMENT: Mac Soundtrack, 30.06, Eric G-4 w/CUBASE VST 32 5.1 Proteus 1 Mathews, Pond, Adam Wade, Scribble, Sound Module, Yamaha TG100 Sound Slackjaw, Suplex, Woke Module, Zoom RT -123 , ESQ-1 Up Falling, Avenue of The Strongest, Keyboard, Casio Midi Guitar Pedro Luz, Andi Camp, Jen Clients: Vivian’s Keeper, LaRai, Fran Wood, Trophy Wife, Gruesome Galore, Gray, Brock Noyes, Genevieve Goodell, Tommy Tutone, Everclear, Audio John Myers, John Hoffman, David Learning Center, Mel, Petal, Intifada, Graham, Poison Okies, Jonathan Flophouse Palace, Loligo, The Reports, Berman, Al Pasque, Marc Hansen, The Kremlin Bronx. Sidekicks, Little Joe, Cory Brunish, Dixie Party Jazz Band, Bill Deiz, Enuf, Chris Intersect Sound, Inc. Harris, Kevin Johnson, Al Pasche, John Portland, Oregon Skank, Savy, Ken Vigil, The Worthing- 503-649-7741 tons, Les Ouvier du Christ, and Christine E-mail: [email protected] Young. Web: www.geocities.com/ intersectsound Gung Ho Studios Owner/Engineer: Bill M. Cushman 86821 McMorott Lane Intersect Sound Inc. specializes in PA Eugene, Oregon 97402 System Rentals for festivals, small bars (541) 484-9352 & clubs, civic functions, church & com- Owner: Bill Barnett munity events, private parties & dances, & DJ shows. Haywire Recording ISI also provides live sound production, Southeast Portland recording and mastering with post- P.O. Box 66381 PDX OR 97290 production and studio work. 503-775-7795 Sound Engineers are available. Email: [email protected] Rates: PA System rentals go out as a Web: http:// unit, engineer included—see website or, www.haywirerecording.com contact [email protected] or Engineers: Robert Bartleson phone 503.649-7741 anytime for voice Tracks: 8/16/24 tracks, Analog or mail. Or between 1:00 pm and 6.30 Digital p.m. to speak to a person. Services: Live & Remote Recording, For Live Sound recording: 1-2 Alesis Free-Lance, Engineering and Adats are available. The tracks are then Producing, In-house Studio Recording, mixed down and mastered to DAT. The CD Mastering turnaround time is usually two weeks Specialties: Remote Recording & and the cost starts at $200.00 for the Producing whole package. I also do studio work Rates: Live & Remote recordings: indi- (subject to availability) at the rate of vidual quotes; 24-track $20.00 per hour. recording: $25/hr or ask about block Equipment: For PA System Rentals: For rates. Freelance engineering example PA system “A” consists of the $25/hr + studio costs. following: Console: Soundcraft Spirit Equipment: Compressors; GML 8900 16x4: Signal processing: Yamaha Rev-7, stereo peak limiter, Urei 1176 Midiverb 3, BBE sonic maximizer 322, compressor/limiter, (3) DBX 160x Aphex aural exiter type B, 2 Alesis 3630 compressor/limiters. dual compressor/gates, JBl m644 4 Microphones; Neumann U48 tube mic, channel gate, DBX 1231 dual 31 band (2) Neumann KM 84, (2) 1/3rd octave eq, 2 Alesis Meq 230 dual AKG 414 ULS, (2) AKG 460, AKG 31 band octave eq, Fender pcn-4 stereo D112, (6) Shure SM 57, (4) 3 way cross-over. Speakers: 2 JBL active Sennheiser 421, Beyer M260 Ribbon, mid-hi packs, (l 15” & 1 2”: driver with Shure 55s. Tape Machines; 1” horn each) 2 JBL active subs, (2 15’s, Panasonic SV3700 DAT, Tascam 48-B front firing & ported each), 4 floor 1/2” 8 Track Recorder, (2) wedge monitors, (1 15” & 1 2” driver Tascam DA88, Tascam 122MKII cas- with 1” horn each), 1 Yamaha drum fill, sette deck. Effects; Lexicon (1 15” & 1 “ driver with 2” CD horn), PCM 42, Yamaha SPX 900, Yamaha SPX Microphones: 4 Shure sm 58, 6 Shure 90, SONY MPS, sm57, 4 Audio technica pro 10, 1 Audio Huges Sound Retrieval System. Misc: 8 technica pro 25, 1 Shure beta 58. Amps Channels of API 550A used include: Crest, Crown, Yamaha, EQ‚s, (2) Neve split Mic Pre/EQ, V/T SLM-RMA series & Yorkville AP series. Tube DI. Amplifiers; Ampeg (depending on system configuration Portaflex B-15 bass amp, 60’s black face and power demands) Miscellaneous: Fender Pro - Reverb, 4 ISI di boxes 1, Lawrence accoustic 1973 Marshall JMP head with 60’s Cab, guitar pickup, Fender m-80 pro guitar Vox Royal Guardsman, amp w/4-12” cabinet, Big muff II Dis- Vintage Supro Guitar amp. Monitors: tortion Pedal, MXR distortion pedal, Yamaha NS-10 Studio. Digitech “talker” voice-synth pedal. Clients: Wilco, Skiploader, Desert City Continued on page 18
Page 14 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 15 You can call me Ziggy… Choice Cuts For Your Mixtape. EW sez, Just in time to break their new album world- “’Vanessa From Queens’ May forever change wide, David Bowie has invited The Dandy Warhols the way you feel about girls named Vanessa.” to open the show on thirty dates of his widely pro- moted “Reality Tour” across Europe. NNN Mr. Stardust’s musical extravaganza starts Thank you, Mr. Goldfarb. October 7th in Copenhagen and winds up in The 16th Annual Waterfront Blues Festival Glasgow November 28th. over the July 4th holiday entertained an-estimated The Dandy’s third Capitol album “Welcome 120,000 people and raised a record $363,000 for To The Monkey House” is due out in the USA the Oregon Food Bank. th August 19 and the band kicks-off the promo with Stage manager (and veteran of 14 festivals) th an appearance on Conan O’Brien August 15 . They Bill Phillips says, “It was the all-around best one th start the US tour August 24 headlining the Sunset ever. We don’t know how we’re going to top it.” Junction Street Fair in Los Angeles. Sgt. Major Phillips is also responsible for collecting The fi rst single “You Were the Last High” the gear for festival stages. “Most of the national th comes out July 28 . acts have specifi c equipment requirements in their The Dandys play Portland at the Roseland contract riders. We use 5 complete set-ups includ- th August 28 . ing keyboards, amps and drums. This year, out of thousands of dollars worth of gear, we only lost NNN one $40 volume pedal.” Star search… “And, I’ll tell you one thing, they don’t make As soon as Lyle Ford read Meredith Brooks’ Fender amps like they used to. We blew up 3 brand letter in the last TL-fresh from producing Hilary new Twins right out of the box.” Duff and asking for help fi nding another young The Oregonian’s coverage pointed to Curtis female-he grabbed the phone and called his pro- Salgado’s set as the festival’s musical highlight. John ducer Ezra Holbrook. Foyston reported Steve Miller had so much fun he Ezra had played Lyle some tracks from Jas- gave his paycheck back to the Oregon Food Bank. mine Ash’s project and the young singer had left an The all-around best one ever. impression. Always eager to give deserving talent a Delmark Goldfarb was the player and Blues break, ba-boom, ba-bing the disc is in the mail to fan that conceived and organized the fi rst water- Meredith in Hollywood. front blues event in 1987. After fi ve years of strug- Ka-ching! gling for control he moved to Memphis where he Meredith calls Jasmine. split his time between gigs at the Beale Street Blues Jasmine says the conversation quickly got Museum and the Memphis Music Hall of Fame. down to musical influences. “When I told her He returned to Portland in ‘98 and appears locally Radiohead, Meredith said the same day she with his act, The Bon Bons. received my record-but before she heard it-she Of his original idea, Delmark says, “It’s just had told her engineer that what she wanted to do great to see the whole city turn out in support of was develop a female version of Radiohead. So, we the Blues.” clicked right away”. Look for Lyle in the liner notes. NNN Curtis Salgado’s partner… NNN Besides hosting one of the premier annual Radiohead out with the Jicks. blues festivals, Oregon produced the reigning Stephen Malkmus and his band join the world champion of contemporary blues guitar Capitol act for 12 dates in support of Radiohead’s players; Robert Cray. new lp, “Hail To The Thief”. They start in Boston Don’t take my word for it, ask Eric Clapton. August 13th. The closest the tour comes to Portland Cray made the cover of Billboard July 12th as is August 31st in Auburn, Washington. a participant in the upcoming PBS series “Martin Entertainment Weekly (7/11) picked a track Scorsese Presents the Blues-A Musical Journey” from the Jicks latest Matador album “Pig Lib” in airing September 28th thru October 4th. Think Mission 5’s Steve Wilkinson.
Page 16 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 17 Ken Burns on Jazz with bigger names and more “I was living in a house in Southeast with 4 promotion. other musicians and bands from Eugene used to Sony/Universal, who issued the Burns Jazz stay with us when they played Portland. Curtis series will release a set of Blues CDs from the Salgado’s Nighthawks were regulars. This band, Scorsese program. First in the series is “Best Of Iguana Outside had a guy named Warren Rand The Blues” due out August 26th with “new material who sent me to see the Cray band. The fi rst time I from Robert Cray & Shemekia Copeland.” saw them was at the White Eagle and there was not Robert has his own hot new album… one single person in the whole place.” Entertainment Week (7/11) reviewed Cray’s Dover now plays in the Duffy Bishop Band new Sanctuary album “Time Will Tell” and writer and holds down a “sweet gig” every Sunday from Chris Willman gives thumbs up. 6:30PM-10:30PM at the Ratskeller in Government “If, like some of us, you got bored with the Camp working with Jeff Minnick on drums and blues a few thousand 12-bar progressions ago, Time Dave Kahl on bass. to reconsider. Here, Cray offers a Los Lobos-esque “The owner is very supportive. He provides take on the genre, with psych-pop sitars, string the backline so we don’t have to haul equipment sections, and frantic shuffl es as eclectic bait. This and he’s set up to record from the stage. expansionism works, though it’s inevitably the “We get guests every weekend like Duffy, Paul guitar-organ interplay that kills.” deLay, Lloyd Jones and Curtis Salgado.” The Robert Cray Band was formed in Eugene in 1974 and recorded their fi rst album for Tomato NNN records after being discovered at the ’77 San Fran- To some people, GC will always mean Guitar cisco Blues Festival. A year later Hollywood came Crazy… to Oregon to fi lm Animal House and Robert got a Bob Stull’s primo vintage guitar shop has bit part playing bass in the movie band Otis Day called it quits after 17 years on Hawthorne Blvd. & The Knights. From now on Bob will do his git-tar swappin’ from Show-biz legend has it John Belushi caught guitarcrazy.com. In 1986 Bob managed two stores the Robert Cray Band with frontman Curtis Sal- for Portland Music but yearned for his own vintage- gado in a Eugene club and was inspired to create oriented specialty shop so he gave Mark Taylor his The Blues Brothers. keys and opened a pickers boutique across from In 1986 Robert Cray’s fourth album “Strong Showcase Music at 34th and Hawthorne. Persuader” won a Grammy and went double- Over the years Guitar Crazy became a hang- platinum. The follow-up “Don’t Be Afraid of The out for the city’s most accomplished guitarists Dark” also won a Grammy. On a European tour and a destination for touring pop stars. Like the with Tina Turner Eric Clapton became a fan and old west general store where the gunfi ghter yarns invited Robert to appear on his next two albums. were swapped around the pot-bellied stove, Guitar BB King featured Robert on his Grammy winning Crazy was where you went to get the vibe. lp “Blues Summit”. When I worked for Gibson Guitars I learned In addition to the platinum award Cray has the business is not about selling people a guitar, but two gold albums, fi ve Grammy Awards and 11 making people want to become guitar players. nominations. Guitar Crazy did that. “Time Will Tell” is Robert Cray’s 16th album. rd July 3 The Robert Cray band returned to the NNN McDonald Theater in Eugene, where it all began . Guitars are magical machines… I was at Gibson during a dark period in the NNN history of Orville’s company. Back then Gibson had Dover Weinberg remembers that killer guitar- been building guitars in the same brick factory in organ interplay. Kalamazoo, Michigan for 70 years. Norlin Inc, the Dover was the keyboardist in the Robert largest musical instrument corporation in the Cray Band when they were discovered at the San world, had just acquired the old-line company of Francisco Blues Festival. Mission 5’s Steve Wilkinson. photo Pat Snyder Dover met Robert in Portland. Continued on page 28
Page 16 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 17 Clients: Sarah Blaisedale, Cascade Blues Association, Crosstide, Delivery, John Densmore, Doyal Tankington, Laura Duzette, Bryan Free, Jefferson Institute, Kinzel & Hyde, Christopher Marshall, Wayne Meichsner, Mindset, Mute, Mykel, Nice Richard, Tom Noeson, Oliver, Postal, Random Electronica, Continued from page 15 Regenerator, Saturday Night Jazz Band, Screamin Willies Dixieland Band, Stela, Clients include: Dfive9, Hell Candi- West of Zero, and more. THERE’S SOMETHING ABOUT dates, Jen Lane of Barfly Magazine, Til- lamook County Fair in association with Jackpot! Recording Studio Starshine Sound, Rorschach Test, Stage 1925 SE Morrison A SONG Phryte, The Natrons, Witch Mountain Portland, OR 97293 It transcends music theory and the science of sound. Regardless of style, and many other locals. (503) 239-5389 it touches a part of the human soul that effects mood, thoughts, feelings... Other: Bill Cushman is House Engineer [email protected] our lives. People who create music understand that better than anyone. at Club Satyricon and he invites you www.tapeop.com But it can be difficult to capture inspiration so the song you hear in to come in and say hello. As owner of Owner: Larry Crane your head is what you hear on your CD. That’s what Crossroads Intersect Sound, he guarantees reason- Productions is all about... we offer an atmosphere conducive to creativity, able rates, professional service and well J.A.S. Recording the equipment to capture it, and the commitment to get it right. maintained gear—delivered, opera- P.O. Box 884 tional and on time! Beaverton, OR 97075 (503) 274-2833 Interlace Audio Production Owner: Andy Strike 457 NE Birchwood Dr. Hillsboro, OR 97124 KAOS Recording, Mastering & CDR 503-681-7619 Duplication Email: [email protected] Portland, OR Because Your Music Deserves It. Website: http://www.interlaceaudio.co (503) 287-5066 mOwner: Bob Crummett Owner: John Belluzz Call or email to schedule a personal studio tour. See what the buzz is all about! Contact: Kris Crummett Studio manager: Ron Stephens Engineers: Bob Crummett and Kris Studio assistant: Danielle Jenkins Lemon Studios and Walter Midi Crummett 7708 NE 78th Street • Vancouver, Washington 98662 • (360) 256-9077 www.lemonstudios.com Rates: $25 an hour. email: [email protected] • www.crossroadsproductions.net 1424 SE 162 Portland OR 97233 Tracks: 64+ track Protools, 16 track (503) 761-0964 adats, 2 track Dat. Jon Lemon - Owner and Chief Engi- Equipment: Digidesign Protools HD1, neer After It’s Recorded Alesis Adat XT, Alesis Adat XT20, Sony Email me at: recordingstud@lemonstud PCM-R300 Dat, Mackie 24/8 Console, ios.com
Page 18 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 19 WE Side Records; Kant Be Caught; DJ Microphones: Soundelux: 2 x U95S OG One Productions; Kathy Walker - Microtech Gefell: UMT 70S -, Royer: 2 Band; D-Five-9 x R-21 - Neumann: 2 x KM-184 - AKG: D12e -, Sennheiser: 3 x 421, 441 - ADK: Lion’s Roehr Studio 2 x A51s - Shure: 2 x SM-57, SM-7 5613 S.E. 69th A Few Of My Clients: Oregon Sym- Portland, OR 97206 phony • Obo Addy • Swingline Cubs (503) 771-8384 • Alfredo Muro • Lew Jones • Benny Email: [email protected] Wilson • Norman Sylvester • Allan Owner: Mike Roehr Charing • Indigene • Mel • Perfect in Plastic • Randy Porter • Headless Nettleingham Audio Human Clones • Slackjaw • Mother’s 888-261-5086 / 360-696-5999 Choice • Trophy Wife • The Cow Trip- Vancouver, WA(just minutes from pers • Blyss • 31 Knots • Starter Kit • downtown PDX) The Jimmies • iknowkungfu • Feller • Web: http://www.nettleinghamaudio.com DFiVE9 • Gruesome Galore • Flying Email: [email protected] Heart Records • Ave. of the Strongest Services: CD Mastering, Audio Restora- • Engorged • Logoseye • 44 Long • tion, CD Replication & short runs, Headscope • Pacific Wonderland • Thy graphic design, editing, etc… Infernal • Renato Caranto • The Bas- Specialties: CD Mastering/Restoraton/ soon Brothers & a lot more! Short-Run CDs Engineer: Kevin Nettleingham No Moving Parts Tracks: 128 Track Digital Hard Disk S.E. Portland (near Laurelhurst) Rates: $50.00 per hour / 100 CDs - $235 (503) 234-6410 Equipment: Digital Audio Workstation: Web: www.nomovingparts.com Digidesign Pro Tools | HD3 24 bit & Owners: Mark/Michele Kaeder sample rates up to 192kHz, Software Engineer/Producers: Mark Kaeder Version: 5.3, Audio Hard Drives: 306 Tracks: 32 I/O Harddisk Recording gigabytes, Computer: Macintosh G4 Equipment: Recording: Yamaha O1V 800 w/dual monitors (cinema display Digital Mixer, Logic Audio Platinum and 20” VGA), RAM.: 1,256 megabytes HDR software (running on a 1.0 GHz AD/DA: Cranesong: HEDD (Har- Intel PIII with 512 megs of ram and monically Enhanced DIgital Device) 80 gigs of storage), Dual Creamw@re 24 bit AD/DA converter, Digidesign: Pulsar 96/24 DSP, Synthesis/Mixing 888/24 24 bit AD/DA converter, Waves: platform (too many other audio pro- L2 Ultramaximizer 24 bit AD/DA grams to list) , Outboard: True Systems converter ‘Precision 8’ eight channel mic preamp, Analog Processing: GML 8200 Para- Lexicon MPX-1 multieffects processer, metric Equalizer, Cranesong: STC-8 ART Pro MPA tube mic pre, ART Pro Discreet Class A Compressor Limiter, VLA optical tube compressor, DBX Empirical Labs 2 x Distressors with 1066 stereo compressor/limiter/gate, British Mod, Mic Preamps: Cranesong: DBX Quantum Mastering Compressor, Flamingo 2 channel Discreet Class A Otari MTR-12 1/4” Mastering Deck. mic pre, Focusrite; Red One 4 channel Monitors: Sundholm V8’s, Mackie mic pre, Summit; TPA-200A Dual Tube HR824 reference monitors, Yamaha mic pre, Night Pro; PreQ3 4 Chan- NS-10 reference monitors. Synthesis: nel mic pre Digital Processing: Cedar: Roland XP-80 MIDI workstation , De-clicker, De-crackler, De-hisser, Ensoniq ASR-X sampler, Alesis D-4 De-buzzer, Waves: L2 Ultramaximizer, MIDI drums. Condenser mics: Sounde- Platinum Bundle, DigiDesign; Rever- luxe U-95 multipattern tube mic, Rode bOne, Serato; Pitch-n-Time 2, Antares: NT-2 , Rode NT-1 (2), Audio Technica Autotune 3.0, Line 6: AmpFarm ,ATM35, AT-851a, AT-4041(2). Cardiod Digital Routing: Z-Systems: 16x16 AES Dynamics: EV PL-10, Shure Beta 52, Digital Detangler Pro E.V. ND-868, ND-367 , Peavey PVM22 Syncronization: Aardvark: AardSync II, (2) , Cad 22 (2), Shure SM-57 (2). Sync DA Misc: Sony Spressa 24x CD Writer. Data Back-up: Exabyte: EXB-8700LT AKG and SONY headphones, Furman 8mm Distributed Headphone system , Gal- CD Recorder: Plextor 8/2/20 lien-Krueger 800RB bass amp with Monitors: Meyer Sound HD-1 High Eden 4x10 cabinet, Conn Strobotuner, Definition Audio Monitors Marshall JCM-2000 guitar amp. Metering: Metric Halo Labs: Spec- Notes: No Moving Parts is a comfort- traFoo - Waves: PAZ Pscychoacoustic able, low cost recording environment Analyzer with a friendly and knowledgeable staff. 2 Track Players/Recorders: Tascam: DA- Providing exceptional sound quality 45HR-24 Bit DAT, DA-30 MKII DAT, with the kind of speed and flexibility CDR2000 – CD Recorder/Rewriter that only hard drive recording can Marantz: PMD-321 CD with AES and provide. Perfect for inexpensive, great SPDIF outputs - Nakamichi MR-2 Cas- sounding demos or for budgeting the sette, Vestax: BDT-2500 Turntable Continued on page 20
Page 18 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 19 effects, Yamaha SPX-90 effects, Yamaha O2R (2) effects, Aphex Compellor, Look for the CD Symetrix 425 compressors Yamaha at all Tower, GC2020B compressors, Yamaha O2R Music Millenium, dynamics processors Drawmer MX30 compressor/limiter/gate, Vesta Koza & Everyday records digital delay, Aphex aural exciter... Monitors: Sundholm SL8.0 monitors (2 Continued from page 19 pairs), Genelec 1029A w/sub monitors “Hear it on KMHD” Yamaha NS-10 monitors, Auratone Sandin Wilson - CD kind of time it takes to complete a fully monitors Hafl er P4000, P3000 power “Into My World” produced fi nal product. Check out our amps Original Contemporary Pop/Jazz You can also listen online at website at www.nomovingparts.com for Microphones: Neumann U87 (2), Featuring Carlton Jackson, Paul Mazzio, www.cdbaby.com or more info. Audio Technica 4033, 4050, 4051 AKG Jaybird Koder, Tim Bryson Sandinwilsonmusic.com Clients: Recently - Nojeem Lassisi and 414 B-ULS mic, AKG D112 (2) mics and special guest Doug Fraser Jujuba, Peer Pressure ADK tube, Audix D1, D2, D3 (2), OM5 “Contemporary Music for Sophisticated Ears” Productions, Day Pass, Emberghost, Shure 57 (4), 58, EV ND757a American Barricade, Erotic Others: Sonar XL, Steinberg Wave lab Politicans, The Blues Broads, Hydro- 3.0, , M Audio 1010 24/96k, Roland ponic, Morse Code Heartbeat, Divine XV3080,Roland 303 groovebox, Alesis Noise Asylum, Patrick King, Naked D4, Ensoniq TS-12 keyboard, Fender Todd, Step Beyond Deception, Lipid, Strat, 5-string bass, Tele custom, Gibson Spindrift, Kaddisfl y, Fusion Ball, Whis- Les Paul, mandolin, Marshall, Fender key Sinner, Chapter’s End, Deville, Line 6 POD, Mesa Boogie V-2, Redline6, Hot Boxed Crate. Clients: Kerosene Dream, Jollymon, Northstar Recording Stephanie Schniederman, Deen Cas- 13716 S.E. Ramona tronova, Mad Hattie, The Red Sector, Portland, OR 97236 Triple Double, Shrapnel Records, (503) 760-7777 Fax: (503) 760-4342 Shortwave Records, Albert Reda, Ennis Owners: Scott James Hybl, Curt Cass- in Theory.... ingham Pacifi c Records On Site Audio 503.775.2530 A Diamond “Z” Records Company Convenient Southeast Portland Loca- 16016 Lower Boones Ferry Road, Suite tion 5 Email: studio@pacifi crecords.net Lake Oswego, Oregon 97035 Owner/Engineer: David Pollock (503) 675-1670 Rates: $20/hr includes engineer/ (503) 635-7335 Fax# producer, all equipment listed below. Email: [email protected] Other services include in-house short Contact: Steve Landsberg run duplication (printing and shrink- wrap included), online distribution, Opal Studio and design 6219 S.E. Powell Recording Equipment: Apple G4 Portland, OR. 97206 450mhz 512mb RAM, 60gb Hard drive, 503-774-4310 ProTools 5 Gold Edition recording soft- 503-777-5214 fax ware, Digidesign recording interface, Email: [email protected] TDK, QPS, and Yamaha CD burners, Web: www.opal-studio.com Peavey RQ200 mixing console, Emagic Owner: Kevin Hahn Logic Control Engineer/Producers: Kevin Hahn, Vince Microphones: (1) SE Electronics Tognetti, Chris Stevens. SE5000 Tube (Neumann U87), (1) Rates: $40/hour, block $35/hour, proj- Behringer B2 Condenser, (2) CAD ICM ect $30/hour. 417 Condensers, (3) CAD TSM 411’s, Equipment: Yamaha O2R digital (1) CAD KBM 412, (2) Avlex 58’s, (1) mixing console, Tascam TM-D1000 Peavey 57. digital mixer, 32 tracks of Alesis Processors: PreSonus MP20 tube HD24 & XT20, Panasonic SV3800 preamp, various effects from various dat recorder,Tascam DA-30, Alesis manufacturers such as Waves, Antares Masterlink, Tascam 302 dual cass. deck (auto-tune), Digidesign, and others. Marantz 615 CD recorder, Marantz Other external effects from manu- PDM 320 CD player, Microboards facturers such as DOD, Boss, Zoom, StartREC 400multiple CD recorder, Danelectro, Dunlop, and others. Manley U5,Focusrite R8 dual mic Monitors: KRK V6 pair, Alesis Monitor preamps, Drawmer 1960 dual tube mic One with Alesis RA100 amp, Aiwa. (1) preamps/compressors, TLA PA-5001 Pair Sony MDR-V7000, (3) Optimus quad tube mic preamps, Joe meek VC3 Novas, Rolls distribution amp (2) mic preamp/compressors, ART Instruments: Martin DM acoustic, PRO MPA dual tube mic preamps, Custom Fender Strat, Hamer limited Eventide H3000 effects, Lexicon LXP-15 edition Archtop, Fender P-Bass Special,
Page 20 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 21 Epiphone Casino, Premier 5-piece Rates: $40/hr or 10 hr block for $300 drum kit with Camber and Sabian (in advance + plus tape costs) cymbals, various percussion, Yamaha Recorders: Scully 288-16 (2” 16tk), MIDI controller, E-MU Proteus 2000 Ampex AG440B (1/2” 2tk), Studer A700 sound module (1/4” 2tk), Scully 280 1/4” 2tk, Ampex Clients: Paper or Plastic, The Cand- 351-C (mono tube 1/4”), Panasonic SV lethieves, Chazz Rokk, FaCx Murda, 3700DAT, Digital Audio Labs Hard Disk Focus, DreDizzle, Deep Treble Produc- Editor, Phillips CD Burner, Pioneer 3 tions, Rose City Records, Premier head cassette (+4 converted). Entertainment, and others. Monitors: Large JBL Alnico 15”/2”/ Eliptical ring system in factory cabinets Private Studio Recording & Mastering Biamped and TUBE driven. Near fi elds 420 SW Washington St. are JBL L26(tube driven). Headphones Portland Oregon 97204 have 4 separate mixes. Console: Sunn 503-407-2521 SPL 3424 & 4424 well tied for 56 www.psrecordings.com inputs. L & R main buss is now tube.. Contact: Timothy Stollenwerk Triode connected 807s fully regulated Specializing in 24bit CD audio mas- & transformer coupled. This is the tering and post-production, which heart of our vacuum tube console-now includes original sound design for under construction. theater and fi lm, fi eld recordings, and Tube Equipment: “Thor”broadcast tube much more. pre, Altec Lansing 220A tube mixer ( Rates by the hour or by the “audio 4X1),TL Audio Stereo Tube Compres- minute”. Satisfaction guaranteed. sor, TL Audio Stereo Tube Parametric Equipment: Sound Forge and Vegas (these are fed single ended thru 40 yr video 24bit DAW, PSP Vintage Warmer, old 600-10k transformers when used PSP Mix Pack, Waves L2 Ultramaxi- in mastering), RCT Tube 4x8 Stereo mizer, Lexicon PSP42, Ozone Master- Plate Reverb, Presto 40B (regulated) ing, Yamaha O1V, Frontier Design mic pre, RCT stereo tube line amp 24bit 10channel Wavecenter, Apogee (6L6GCs), KGW Line Amp, RCT stereo 1000 AD/DA, POW-r dither, Digitech tube mic/line pre (5879s&6L6GCs), intoxicating TSR24S, Fostex E2 1/4” analog with RCT tube mic pre (5879&6L6GC), RCT time code, Earthworks Sigma 6.2 refer- stereo differential limiter (6SN7GTAs), ence monitors, Sony DTCA7 DAT, and 2 Bogen Tube mixers 5ch (EF86s), RCT TwoLouiesMagazine.com a few A/V rated Ultra Wide SCSI hard stereo tube DI (12AT7x). RCT TUBE drives for optimal performance. GEAR HAS SEPARATE POWER SUP- Clients include: Beta-Lactam Ring PLIES AND DC HEATERS. Records, Alien Eight Recordings, Effects: RCT Tube Stereo Plate, AKG Ground Fault Recordings, Alluvial BX 10 Rev, Alesis & Lexicon revs, Recordings, Touch, Generator Record- Orban Optic Compressor, Behringer ings, Egg Shell Productions, Sowelu Composer, 2 Tapco +4 stereo graphic Theater, Chel White Films, Dub Plate EQs, Audio Logic Quad Gates (VCA), Tectonics, Soleilmoon, Subterfuge 2 Scully 280 mic pres, Ampex 440C Recordings, Banned Productions, mic/line pre, 5 Digital Delays, 12 ch Reverb Records. patchable DBX 180 noise reduction. Mics: AKG “The Tube”, 451 (2), D-12, R Studio 330BT (4),D-224E, Electrovoice RE27, (503) 285-9168 RE20, RE 16 (2), DS 35 (2), 665, 1777A Owner: Gregg Whitehead (2), RE 50, Rode NT2, Studio Logic C3, Sennheiser 421, Shure 55S, 56 Rainbow Recording (2), 58, PE50SP. Helpinstill magnetic 6614 S.W. Garden Home Rd. piano pickup. Large adequate stands & Portland, OR 97223 hardware. (503) 246-5576 Instruments: grand piano, Hammond Email: [email protected] CV & Leslie, Fender Rhodes 88 stereo, BUY Owner: Galen Hegna Fender Telecaster bass, Gibson melody maker (P90s), Yamaha acoustic 12 Recording Associates string, dual showman cabinet, Sunn 5821 S.E. Powell Blvd. 2000s, Sunn 1200s, Sunn 100s, Ampex Portland, OR 97206 jet J-12. (503) 777-4621 Clients: Ray Charles, Chubby Checker, SELL Email: [email protected] Al Rivers III & The Ink Spots, Ike Willis Band, War, Edwin Starr, Howard Red Carpet Treatment Roberts & Mel Brown, The Weevils Aloha, Oregon w/Billy Hagen & Dave Gill, Blake Wood, (503) 848-5824 Kathleen Riley, James Robbins Band, Owners: Gavin & Wendy Pursinger Cross Country, Diamond Eye, Kevin TRADE Engineer: Gavin Pursinger Collins, The Bluesters, The Rockfords, Tracks: 16tk 2” 15/30 ips. Robert Brown, Rob Ohearn, Miss 2tk 1/2” 15/30 ips. 2tk 1/4” 15/7.5/3.75 GUITARCRAZY.COM Mono Tube 15/7.5 Continued on page 22
Page 20 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 21 Other Services: Web Site Design, Video workstation). tone 5-C, Ramsa, Crown, Yamaha,and Production & Duplication, and CD Synchronizers: 4 Adams-Smith Zeta QSC Amplification. Rom Authoring. Three’s. Clients and Projects: Subpop Records, Owner: Dan Decker Outboard Signal Processors: Lexicon: Atlantic Records, Frontier Records, Engineers and Personnel: Dan Decker: 480L, 2-Lexicon PCM-70’s, 2- Lexicon Sony Records, Mercury Records, Road- Engineer / Producer, Nick Kellogg / LXP-1’s, Lexicon PCM-41, 2-Yamaha runner Records, TK Records, Carlson Engineer / Producer, Rick Duncan: REV-7’s, Yamaha SPX-90, Alesis Records, MDR Records, Rainbow Engineer, Wayne Thompson: Program- Multiverb, Ibanez SDR-1000, Eventide Records, Schizophonic Records, Ele- Continued from page 21 mer / Engineer, Delandra Clark Sched- H-3000 Ultra Harmonizer, ADA mental Records, The Dandy Warhols, uling / Artist Management, indepen- Pitchtrack, Roland SDE-3000, Deltalab The Freemartins, Scott Fisher, Smooch- Red Flowers, Plesure Seekers, Planet dent engineers are welcome.Assistant 64 Delay, Deltalab 1064 Delay, Audio knob, Al Perez Band, Ashbury Park, Quarantine, Kind & Loving Spiders, Engineers: Jim Lechocki, Justin Design Delay. Orban 672A 8 band full Blake Sakamoto, Honey Ryder, David Undercover Records, Cravedog, Fer- Swanson, Tony Crepps parametric EQ, Orban 622B four band Lee, Disciples In Song, Jan Celt, Lonnie nando (Luther Russel on keys), June & Direction: Sound Impressions has been stereo full parametric, NIH PE-30 four Turner, Washing Waldo Woo, Signals, Joey, Vintage Flashback, Band of Andys, serving the Northwest with qual- band full parametric, UREI A522 1/3 MOJO, Jackstraw, Fred Stickly, Hard- Strawberry,Orange Collection, Lamu- ity audio services since 1983. Audio octave graphic. Focusright Mic Pre’s, TL ship, Jamie Hampton, Stark Raving rians, In Cell, Sleepover, Producer Mike projects range from local demos to Audio Stereo Mic Preamplifier, Aphex Mad, Super Friends, Dave Said Strike, Mason, Brownell Sound & Bluegrass national albums in all styles of music. Type II Aural Exciter, Aphex Type B Petal, In June, Jeff Cava, Shapeshifter, on the Green, Lisa Miller & the Trailer Our new facility located two blocks Aural Exciter, 2-dbx 263X de-esser’s, Adam Zwig, Jim Sluder, Lisa Polick, Park Honeys,Alison Music, King Darl, from the Rose Garden arena houses two B.A.S.E. Spatial Processor, Crane Song Jon Koonce and the Gas Hogs, Poison The Haunted Church, Shirley Sanders large audio studios and a video editing STC-8 Stereo Compressor, Focusright Idea, Eric Mathews, Cardinal, American Live, Yesterdaze Child, Live cable show suite. Call to set up an appointment. Compounder Stereo Compressor, dbx Girls, Swoon 23, Craig Carothers, “Wing It” with Lynn Conover & Susan- We would be happy to show you our 122 Stereo Compressor, Aphex Stereo Heatmiser, Dan Reed, Monde La Bella, nah Weaver, audio for TV of Hillsboro studios and discuss how Sound Impres- Compeller, 2-JBL 7110’s, 2-Symetrix Southern Nights, Caveman Shoe Store, Symphony Orchestra. Pickathon 1999, sions can assist moving your musical CL-501’s, 2-Symetrix CL-100 , Symetrix Pig Pen, Hearing Voices, Snowbud, 2000, 2001. What can “glow in the dark” career forward to the next level. CL-150, 2-Symetrix 544 Quad Gates, Dan Balmer, Brothers of the Balidi, Nu do for you. Mixing Consoles: Studio A: DDA AMR- Aphex 612 Stereo Gates. shooz, John Nilsen, Michael Harrison, 24, 60 inputs with Uptown moving Instruments: Yamaha C-3 6 foot grand Tall Jazz, Dub Squad, Gary Ogan, Rex Recording fader automation, 24 buss split console piano, Yamaha DX7, Yamaha DX7 II, Dub Debrie, Steve Christopherson, 1931 S.E. Morrison design. 36 channel master section and Ensoniq ASR10, Fender P-Bass, Fender Here Comes Everybody, Patrick Doro, Portland, OR 97214 24 channel monitor section with EQ. Jazz Bass, Fender Telecaster, Kramer Double Trouble, Cross Country, Power (503) 238-4525 Switchable plasma metering. Studio B: DMZ-5000 Fretless Bass, Gibson J-40 Of 10, Marv Ross Rindy Ross, Land of Web: www.rexpost.com Yamaha 02R digital mixing console: 40 acoustic, Rickenbacher 5001 Stereo the Blind, Chode, Mel, Nancy Bright, Owner: Sunny Day Productions, Inc. inputs with dynamics and parametric Bass, Ampeg B-15 Bass amp, Fender Leroy Vinegar, Soular, OC192, Gypsy EQ. Studio C: Yamaha 01V Digital Sidekick amp. Oberheim Matrix 6R, Caravan, Melt, JIVA, Victor Wooten, River Recording Mixing ConsoleMulti-Track Record- Korg DW-8000, Sequential Drum- Portland Trail Blazers, Portland Winter Milwaukie, OR ers: Otari MX-80 2 inch 24-track with trax, 2-Alesis D-4 Drum Modules, Halks, Portland Songwriters Associa- (503) 659-5760 CB-120 locator for programmable Korg M3R, EMU Proteus, Oberheim tion, Tektronix, NEC, Fujitsu, LPKF Owner: Steve Parker punch-in and punch-out. ADAT 24 Matrix 1000, Kawi K1, Korg Polly 800, USA, LPKF Germany and many more. tracks, BRC auto locator. Roland 2080, Akai S2000 Sampler, Sound Goods Mastering Decks: Otari MTR-12 II, Roland JV1010, Fender Rhodes Piano, SuperDigital Ltd. Beaverton/Aloha, Oregon Tascam 52, Panasonic SV-3700 DAT’s. Whurlitzer Piano, large sampling 915 N.W. 19th Portland OR 97209 (503) 690-6864 Panasonic SV-3500 DAT, Yamaha CD-R library of loops and sounds. 228-2222 Web: http://www.soundgoods.com writer Microphones: AKG The Tube, AKG Email: [email protected] Owner/Engineer/Producer: Joshua Noise Reduction: Dolby 363 SR/ A 414’s, Neuman U-87, Neuman KM- Web: www.superdigital.com Slamp 2-Channels, Dolby XP 24-Channels SR, 140’s,EV-RE20, AKG 330’s, 320’s, 451’s, Owner: Rick McMillen Digidesign D.I.W.R. Digital Audio 460’s, D-12’s, D112. Audio Technica Sound Impressions, Inc. Digital Workstations: 3 Digital ATM-63’s, Tascam PE-250’s, Sony T-Bag Studio 1920 N. Vancouver Performer workstations with 2408, Condensers, American and Shure Address: 6925 N.E. Garfield Ave. Port- Portland, OR 97227 2408II, 1224, MIDI Time Piece, and Ribbons, Shure SM-57’s, Sennheiser land, OR 97211 (503) 287-3975 Fax: 249-5021 MIDI Time Piece AV interfaces, Apogee 421’s, & more!Monitors and Amplifica- Phone: (503) 313-5521 Email: [email protected] AD Rossetta Converter, Pro-Tools III tion: UREI 813’s, KRK 7000’s, Yamaha Email: [email protected] Web: www.sound-impressions.com 16 Track Power Mix (on the AVID NS10’s with matching sub wolf, Aura- Contact: Talbott Guthrie for booking
Page 22 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 23 information Deltafex. Tonic Media , Neumann KMS148 (2) Preampli- Rates: $20.00 per hr. Available Instruments: Allegra 6 piece PO Box 14062 fi cation, True Systems Precision 8 , Block rates are available. I know many drum set, Ludwig 5 piece drum set, Portland Oregon, 97214 Focusrite ISA-110, Limited Edition , musicians who can help write, arrange, Roland XP-10 synth, Roland SDP-20 (503) 236-2123 Focusrite Platinum Voicemaster (2) or produce, if you need it (for a little percussion synth, Boss drum machine, Email: [email protected] , Mackie VLZ’s Processing, Mackie exta cost). The studio, control room, many guitar and bass amps, various Owner: Alan Alexander III EFX – Reverb, Compression, Gating and acoustic panels were designed by percussion items , Apogee UV22 , Lexicon PCM 91 Rick Sullivan. Microphones: se. Electronics 2000, Walnut Studios Reverb , Waves L2 Ultramaximizer , Main Components: Mackie 32x8 GT AM-52 (2), Audio-Technica pro (503) 312-9663 DBX 160A Analog Compressor (2) , recording console, Alesis HD24 24 track 37r, Shure sm 58, Shure sm 57 (4), Balanced Power, Equi=Tech ET1RSI-F. EMU E4XT Ultra Sampler Monitors, hard disc recorder, Alesis ADAT xt-20 Sennheiser 421, Sennheiser e604 (3), Console, Mackie D8B, OS 3.0. Recorder, Mackie HR824’s Headphones, Sony (2), Tascam DA-P1 DAT recorder, Event AKG D112, AKG C1000. Otari RADAR II Hard Disk Recorder, MDR-7506’s Media Format Options, 20/20 monitors. Clients: Five Fingers of Funk, Porter- OS 2.20. Mics/DI, AKG C 414 B-TLII CD-R, DAT, .mp3, .wma, Cassette Processing: ART Dual MP tube mic house, Silky, Organic Mechanic, Code- (2), Groove Tube 1A (2), Sennheiser Transfer Formats, TDIF, ADAT Opti- pre, Kern IP-777 tube bass pre amp, breaker, Danny East, The Instigators, MD-421 (2) , Shure SM-57 (4) , Shure cal, Analog XLR and _” TRS Stereo dbx 166A compressor/limiter, Mac G-3 Invisible Doctors, Diego Salvadore, 7th SM-58 (2) , AKG D112 , Shure Beta 52 , Transfer Formats, AES/EBU, S/PDIF, with Digital Performer, MOTU 1224, Seal, Joe Cunningham Neumann M147 , Neumann KMS105 , XLR,” Coaxial. Lexicon MPX 100, Lexicon Alex, Peavy SansAmp Bass Driver DI , AKG D12-E LL month the headline is Super Digital just brought sphere and comfortable environment conducive in a Sony 2” 24 track machine to transfer stuff to to creativity. The studio is situated near the heart and from Pro Tools. That seems exciting enough of the city and makes Falcon the destination for a for me. They’ve also increased their CD-making lot of local artists as well as national acts. They can Continued from page 6 capacity. Don’t know how much, but Super Digital do demos to full CD’s, digital editing to mastering, and more dynamic”. They added long-time Base- is a totally self-contained outfi t. You can walk in voice-overs to audio plays, as well as any special board Heaters bass player Matt Souther and put out with some songs and walk out with a fi nished CD projects. They can pretty much meet any needs you a four-song EP with a high-energy live show and product. Rick is mastering projects for Michael have. With Analog 24 track 2 inch, Digital hard disk have got reviewers and fans alike raving. Somebody Allen Harrison. Jeff Salzmann is doing the same recorders, and computer based recording systems, over at the Oregonian calls them a “vibrant new for Holy Sons, The Minders, Boka Marimba, and Falcon can handle the most popular formats and outfi t”, with “churning guitars, stunning harmo- others. They’ve got a lot of stuff going on. work hand in hand with producers and musicians nies and Higgins’ trademark soaring melodies”. I never truly realized just how much of a working in smaller project studios to take your CD Baby.com owner Derek Sivers describes Odds teeming beehive of real world-class activity there projects to the next level. Against Tomorrow as “modern, melodic rock that was in this city, music-wise, until I started writing Singer-Songwriter Lyle Ford is still getting his will tune you in with delicious hints of funk, emo, this column. The quality and professionalism of the Early Show at Mt. Tabor Theater off the ground. hard rock, progressive rock and 80’s accessibility”. studios in Portland, the mountains of world-class He’s fi nally pared it down there to Wednesdays They’ve sold a bunch of EP’s around the world and gear and the people who use it all is breathtaking. and Thursdays from 6:30 to 8:30. He’s also added they’re working on their fi rst full-length record. I just fi nished updating the equipment and client solo spots at Sewickley’s Addition on Tuesdays and They’re doing the college circuit thing and booking list for Two Louies Studio/Mastering Guide. I Fridays from 6:00 until 8:30. Lyle says bring your regional tours as well. Drummer Dan Stieg says went to Falcon Studios’ website at http://www.fa guitar and your talent and come sit in. The Tabor “we’re having a blast”. lconrecordingstudios.com and was yet again blow has major-event sound and lights (with a sound Kevin Nettleingham of Nettleingham Audio away by the breadth and scope of another studio man). For the Sewickley’s show Lyle brings his continues to keep his wheels greased and his that means business. Dennis Carter has equipped own excellent sound system. Lyle is also booked doors revolving with another load of master- his two rooms with just plain major league stuff. for shows at the Burlingame Acoustic Room on ing projects. He’s been making a lot of hay and And lots of it. With names like Neumann, Yamaha SW 1st and Ash on July 29 and August 6th. The burning the midnight oil with Portland area art- Concert Grand Piano, Focusrite, Tascam, Alesis, July 29th show features Lyle with Jasmine Ash, ists Straightjacket, Avenue of the Strongest, The Tannoy, Lexicon, Sony, URIE, Drawmer. . . the Ezra Holbrook, Little Sue, Sattie Clark, a pos- Doyle Band, The Horrors of Teenage Sex, Ghost Parade, The Christine Young Band, Mitze Zilka, “Super Digital is a totally self-contained outfi t. Dennis Hitchcock, and the aforementioned Gypsy You can walk in with some songs and walk out with Moths. Mark Fretham (Dr. Digital) came in with a fi nished CD product. Rick McMillen is mastering Blake Sakamoto, Ann Ishimaru, and Zack Semke to master Portland Taiko. Portland Taiko is a pre- projects for Michael Allen Harrison. Jeff Salzmann miere North American Taiko ensemble. It has its is doing the same for Holy Sons, The Minders, Boka roots in ancient Japanese tradition. Taiko is the word for “drum” and the name of the art form. Marimba, and others.” Portland legends Johnny Limbo and the Lugnuts accoutrements that make a studio a real studio, sible nationally known “mystery guest”(think had their 25 song CD done by Kevin as well. It’s are at Falcon in spades. His rooms are chock-full of Sheryl Crow, Jacob Dylan). August 6th Lyle will for a celebration of The Lugnuts 25th anniversary. stuff that can make a serious musician weep with be joined by Christene LeDoux, who just got off 5 Guys Named Moe’s Brian Pelky came by to put anticipation and joy. Not to mention the cadre of tour with Suzanne Vega and will be visiting our the fi nishing touches on their new 12-song release engineers and producers he’s got in his arsenal, town, the spectacular Stephanie Schneiderman, entitled “Dancing in the Streets”. Also, Doug Sweet including whiz kid Sean Norton. Falcon has been the wonderful Lara Michell, Lisa Stringfi eld, both of KMHD came in to put together and master a CD a leader of Rock, Jazz, Funk, Big Band and Clas- of whom play in Carmina Pirahna, Sean Michael, of Cathedral Park performances. Kevin, you are a sical recording in Portland since 1981. Everyone the former front-man/guitar player for the band busy, busy man! Super Digital’s Rick McMillen says I’ve talked to (and that’s a lot of people in the last “Orange Collection. he’ll have some exciting news next month, but this several years) says that Falcon has a relaxed atmo- LL
Page 22 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 23 Clockwise: The fans get a special treat when Curtis Salgado Is joined by Steve Miller and Roy Rogers on the Main Stage saturday night. Dylan-Thomas Vance International Blues Competition Finalist. The Music Mobile. Tim Rutter; helpful crew guy & Two Louies Illustrator. Linda Hornbuckle sings the National Anthem before the fi reworks Friday. Jim Mesi, helps start things off Thursday night.
Page 24 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 25 Page 24 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 25 Counter-Clockwise: Chris Miller with the Mike Barfi eld Band. “Big Monti” Amundson and Robbie Laws. Duffy Bishop with Dave Vest and friends. Roy Rogers and Norton Buffalo with special guest Steve Miller. Tom Grant featured with the Jackson-Mills Big Band. Terry Currier gets an autoghraph from the Joker, Steve Miller.
Page 26 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 27 Page 26 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 27 Continued from page 17 craftsmen. Norlin also owned Moog synthesizers guy who played with Jimi Hendrix before it was at Conans Pub July 19th. August 1st they travel to the and a half-dozen other musical instrument manu- an Experience…Mission 5 will do an in-store at Tractor and return to Duff’s August 2nd. Lisa’s kin facturers. Creative input for Gibson instruments 5PM at Music Millennium July 19th in support of (brother) Chris Miller (Razorbacks) was in town now flowed from the executive suites. The height their latest lp “The Other Side”. The band is an from Austin to play the Blues festival with the Mike of the lunacy came when the corporate thinkers in allstar lineup of former members of Thrillbilly, Barfield Bandand they shared a bill at Duffs Garage the Big Apple stumbled across the Ovation guitar Haymaker, and the Quags. Lead singer Steve on July 6th…Man Of The Year meets the demand with the molded plastic back and wrote a memo Wilkinson is from Gravelpit…Moonshine Hang- for product with a three-tune single, “Thank Your to Kalamazoo instructing the luthiers to build a over to celebrate the release of their CD “Mulberry Stars” b/w “Haircut” and “Organ Madness”. You guitar prototype using plastic. Squeezins” July 12th at the Ash Street Saloon. Tracks can order it at www. manoftheyear.org…Derek You gotta be kidding. from the lp are already on the air in Eugene on Sivers traveled to Hollywood to speak to the DIY Gibson Plant manager Carl Spinosa called KWVA…Gary Ogan produced the new Donna Jose Convention July 3rd. Billed as “a one-on-one dis- plastics companies looking for something to build cussion with the CD Baby.com founder – Sivers, a guitar out of. The only thing he could find even a former professional musician, circus clown, remotely close to a guitar body was a rectangular Warner Chappell publisher and one of the online refrigerator drawer. The Gibson craftsmen fell to world’s leading marketing gurus, will discuss the the task of building the only plastic Gibson ever. secrets behind CD Baby’s astonishing success, They used a new Mark Series bridge and attached which has seen the company sell over $3 million a neck that played smoothly. The finished prod- of independent music in its short history.” From uct had a surprisingly pleasing mellow Dobro-like right here in Portland…Stephanie Schneiderman tone. and her full band play Noon Tunes at Pioneer I first saw the guitar standing in a line of un- Courthouse Square July 15th noon til 1PM. They finished prototypes along a wall in Carl Spinosa’s headline the White Eagle July 19th…The Ezra Kalamazoo office. I was visiting the factory with Weiss Quartet with Ezra on piano, Andre St. John Entwistle and by the time we got to Carl’s James on bass and Tim Rap on drums has found office John already had a stack of instruments. a new home at the Jazz De Opus where they play When John asked what that strange little square two Tuesdays a month. Ezra helms the Blues Con- guitar was, an embarrassed Spinosa told the story notation jazz sextet every Wednesday night at the and dismissed it with a wave of his hand. Blue Monk on Belmont. Ezra sez the culmination I added it to the pile, but whispered to John, of the summer will be the September 6th release “This one’s for me.” party for “The Five A.M. Strut CD with the leg- After Norlin sold Gibson to computer mag- endary drummer Billy Hart…Former Dan Reed nate Henry Juskowicz Guitar Player magazine and Network keyboardist Blake Sakamoto got the call Vintage Guitar did stories on the weird little oddity for duties with 80’s heavies Animotion last month and Guitar Crazy put the plastic-backed Gibson at Six Flags Great Adventure in New Jersey. Blake is on display. also a member of Portland Taiko and will celebrate Today it sits in the Two Louies office, testa- the release of their second album September 7th at ment to corporate thinking in a play it by ear the Newmark Theater …July 19th marks the one- world. year anniversary of the passing of Dave Carter. The last Oregon performance of the Dave Carter/Tracy NNN Grammer duo took place at the Hillsboro Tuesday THIS JUST IN…Pete Droge is celebrating marketplace. The vendors at the marketplace will remember Dave Carter on Sunday, August 17th by his greatest chart success yet with The Thorns, Sgt. Major Bill Phillips. photo Denny Mellor the CSN-like vocal trio with Matthew Sweet and donating a portion of market proceeds to the Dave Shawn Mullins has been on Billboard’s Top 200 CD “Spindrift” the good old-fashioned way. All the Carter Memorial Fund. Tracy will perform a set as albums for six weeks (7/12). The trio started with basic tracks were recorded live to 2” analog 24- well as Hillsboro resident Jon Koonce. Tracy also Droge, Mullins and Glen Phillips of Toad the Wet track tape with no click tracks. Gary says, “I’ve told has a couple of cuts on the “Winterfolk XV Live” Sprocket who was sacked for a “lack of chemis- everyone those 5 days of recording basics with my CD. She and Donny Wright sing “Ordinary Town” try” says BB. The Thorns play an in-store at Music friends (Jeff Leonard-bass, Albert Garcia-guitar, and “The Mountain”. Also on the benefit lp for the Millennium at 1PM Sunday, July 20th…Lyle Ford Fred Stickley-keys, Steve James-lead guitar) on Sisters Of The Road are Misty River, Kate Power & spent a day in the Kung Fu Bakery recording his analog tape without a click were in many ways the Steve Einhorn, Tom May, Andrew Calhoun and U. anti-war anthem “Fortunes of War” with engineers most satisfying recording experience I’ve ever had. Utah Phillips…Daniel Crommie’s post-medieval Dave Friedlander and Sean Norton and backed by The result is energetic and fun…risky and pure!” progressive folk act the Saturnalia Trio plays the th members of Dr. Theopolis…Modern Drummer The release party with Ogan on drums happens Mississippi Pizza Saturday, July 26 … magazine (7/03) named Bernard Purdie as one July 18th at the Melody Ballroom…Lisa & Her Kin of 2003’s Top 5 R&B Drummers. Not bad for a rawk with the girls at “Hey Yer Roots Are Showin” LL
Page 28 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 29 Just two tracks later however, ”Blue Sojourn” is love of the things you can do with reverb, both a James Bond movie with a contemporary, more bands share a dreamy, psychedelic approach. electric direction. Always tied together by acoustic Within the songs of both bands, segments morph Continued from page 7 guitars in the background and a reverby feel over one into another through the use of delays and the Though tamer than the more underground pop everything, the listener moves easily through many aforementioned reverb. All this giving a sense that sounds of a band like The Hives, the aggressive moments in many times. you’re definitely not in Saskatchewan anymore, sound of the Spinning Jennies pushes the band This is definitely a “hands on” production Dorothy. While Toshack Highway is much more beyond the terrestrial. with Bodino himself playing all of the guitars, acoustic in nature with fingerpicking or simple bass, piano and keyboards. When he translates guitar strumming, as on tracks 2 and 3, “Cannery Jonah his classical music knowledge and training into Row” and “Country Grass,” both songs sport the CD - Independent electric guitar solos, these things fly like the wind. lovely reverb and lazy guitar delays that bring the t came in a simple plain plastic cover with Sometimes stormy and fast, other times drifting listening bystander to some warm country summer a note saying, “Thanks for listening.” So and warm, Bodino demonstrates an absolute afternoon. Other Toshack Highway songs, like track Igently does this EP begin, that what comes understanding of the genres he’s portraying and 4 “Celestial Navigation,” bear a smidge of pop that after leaves you with your jaw on the floor. They it comes across as deeply connected. plants this music into your sonic cerebral library. call that production. From the first time I heard It’s a songwriter’s prerogative to give the Sometimes floating in space, other times blowing this band on their debut EP “Dizzyfish,” I was impression of many styles on their albums because through a field of tall grass, this music is a scrump- sure they would complete their musical journey they’re always experimenting and traveling to knew tious listen. and embrace all of their dreams. After hearing this musical places. But Mark Bodino seems to already Sianspheric on the other hand, while still release, simply entitled “Jonah,” I’m as completely be there, in many places at once. Not experiment- bearing acoustic guitars on tracks 4 and 5, “This and fully convinced now as I was then. Melodically aggressive, Jonah is a well bal- “Sepia is anything but that funny shade of anced musical machine gliding ferociously through brown in your crayon box. With a dark, melodic a panorama of evocative lyrics and provocative rhythms. Clean and sonically inviting, their songs mix of sounds, this music may best be described embrace numerous incredible moments and on as folk-tronic, as guitars mingle with trip-hoppy this 5 track EP, Henry Curl’s voice has never been samples and blistering percussion rhythms.” better. Developed, complete and in control…they are there! ing, simply passing on in “A Moment of Time” his All Happened” and “Aspirin Age,” openly departs Recently picked up and signed by a major place in the universe… where a wealth of talent the realm of the acoustic with full-blown ultra- management company, Jonah is now being actively and musical knowledge converge onto this stun- wet reverb on big electric guitars and a swirling shopped for an L.A based label home. This reviewer ning CD. storm of vocals set quietly behind the electric wall has never needed a label to sell her on a band’s of sound. With a much darker approach to their music. Whether signed or unsigned…this band Toshack Highway vs. Sianspheric music, there is less auditory definition and cut will always and forever be one of the very, very, CD-Sonic Unyon to Sianspheric’s songs and your ears try to slice very best Portland has ever had to offer. s it pronounced Sonic Onion or Sonic through the reverb in search of the actual chords. In Union? That’s my first question. For the louder rockers, this effect creates an extremely CD - Independent ISianspheric, it was a dream come true to soothing platform from which to digest this invit- n alternate title for Mark Bodino’s be the opening band during the 1998 Swerverdriver ing listening experience. CD could be “A Moment in Times” tour and it changed the paths of both Canadian There was a one in million chance that these Asince this classically trained guitarist groups with this split, 2-CD release being the proof. two bands would find each other in this big world, clearly sees with many musical perspectives. In Swerverdriver’s Adam Franklin later formed the but some things are meant to be and whether a one moment he’s captured 60’s acoustic folk rock band Toshack Highway. Toshack Highway vs. Sian- sonic onion or a sonic union this connection will with “Love the Ways.” Floating, lightly strummed spheric “Magnetic Morning / Aspirin Age” is two make waves for a lifetime. acoustic guitars and willowy violin licks against different CD’s by two different bands in one jewel drums and bass are enhanced only by the beau- case on one record label, Sonic Unyon. tifully rich, widely oscillating Roy Orbison-like The musical connection between Toshack tones and vibrato that are Bodino’s standard. Highway and Sianspheric is obvious. Besides a LL
Page 28 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 29 MUSICIANS CLASSIFIEDS STOP IN ANY PORTLAND MUSIC FREE LOCATION & FILL OUT THE FREE FORM •Pink Floyd tribute band forming in attitude. Call: 360/696-4887 or 360/ Weekly practice. 1-2 gigs a month foe demos-recording projects. SE Portland area if interested 896-3603. Pat 503/636-7449 Professional equipment & attitude. call Dilly at 503-654-1917 •Guitar slinger with hot stinging •Singer wanted Classic Rock Band. Mature, experienced, stylistically •Guitar Player looking for bass, leads seeks progressive Blues Keyboards a pus, join 2 guitars, bass fl exible. Fretless, fretted acoustic or drums & guitar players for surf Band or Musicians to jam with. & drums. We practice Sundays in electric bass. Call Bruce 503/628- music. Call: Keith at 503/232-8785 Into Moore, Gibbons, Healey, SRV Beaverton. John 503/645-2772 9120. •Redline 6 needs new members 21- etc. Call Monty 503/335-3617 or •The Railers looking for a drummer. •Bass player looking for a gig. 29, drinkers welcome! [email protected] fast punk rock. Ready for shows. Originals preferred. Infl uences: Call: 503/705-7567 •Punk band looking for drummer. Call Jerry 503/481-3138 or Josh Maiden, Sabbath. No drop “D” •Drummer available for working Must be serious. Jerry 503/430- 503/720-2880 dwellers. Old School perfect. Craig band only. Pro kit, looks and 1813 or Josh at 503/720-2887 •Bass player wanted to complete 4 503/656-0582 attitude. Experienced, dependable, •Power groove band seeks singer. piece cover band. Backup/Lead vox •Looking 4 fresh talent: to work can travel. Rock, Funk & The Blues. Pro gear, years of experience and a plus. Call Dan (503)742-1765 on progressive minded originals. Call: 503/347-2182 practice space. Looking for Patton/ •Keyboad player wanted 30+ 70’s British infl uence. Call Stuart •A Classic 70’s rock bass player Cornell/Jason 503/957-0357 Musical education pref. Rock-Jazz- 503/253-1915 will give this band wings. We •Drummer & bassist wanted to Fusion-Alt-Indie-Classical 503/644- •Big Island Shindig.com needs the are 2 guitars, drummer & singer create a disturbing new sound to 1117 right bass player. Working band very with day jobs. Contact Larry at infect the world. 503/356-0191 or •Drummer wanted 30+ Experienced, serious. Call Noah 503/244-6733. [email protected] 503/268-1604 dependable, creative for Rock-Jazz- •Bass Player Wanted Guitarist, •Drummer available or working •High school drummer and Fusion-Alt-Indie-Classical. 503/ drummer & vocalist seek solid band only. Pro kit, looks & attitude. keyboardist wanted. Blues based 644-1117 serious bassist. We have a cheap Experienced, dependable, can travel. classic rock band w/funk infl uences. •Bass Player 30+read/write music rehearsal space for Wed & Sun. If I love Rock, Funk & The Blues. Covers and originals. 503/641-2137 bass keyboard for Rock-Jazz- you dig Q.O.T.S.A., Audioslave, Foo Call: 503/347-2182 •Bass/Gtr/Songwriter seeking Fusion-Alt-Indie-Classical 503/644- Fighters & Led Zep you’ll dig us. •Guitarist/Vocals /Harp seeks keys, drums to play old school 1117 Call: 503/672-7644 variety hobby band. Oldies, 60’s psychedelic (Pink Floyd, Sonic •Female Vocalist looking for local •Lyricist & Poet seeks band . I sing R&B. Regular practice, 1-2 gigs a Youth, Pavement) “working” band. Prefer modern, and play guitar. Call Lex Talions month 503/636-7449. •Guitar Guy (50’s) seeks female dance, pop, alternative, but will (Chris L.F.) @ pgr. 503-204-0935 or •Looking for Alt-Rock bass guitarist. singer (rhythm a plus) for duo- negotiate. 503/750-3857 eve only 503 348-8318 Must be serious and nice with good trio. R&B standards, 50-60’s rock. •Bass guitar player available
“WE LOVE BACHELOR PAR TIES” Featuring the most beautiful danc ers in the Northwest Come on by for CHAR BROILED STEAKS BREAKFAST, LUNCH or DINNER NE 122nd & Glisan. Open Daily 7am - 2am 255-5039 we have OREGON LOTTERY GAMES TOO!!
Page 30 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 31 non-profi t organizations. Vendors retain 100% of WHERE’S MONTI? any sales revenues, and are responsible for sales Dear Editor, taxes. I am sorry to bother you... I found your If you’re interested, email me at TwoLouies on the Web and had to write to you. [email protected] , and visit these websites at I have been searching for some time to fi nd info www.1000Guitars.org or www.wailersfoundation- about a certain band from the Portland area and MORE LOUIE HISTORY wpaf.org was hoping that maybe you could point me in the Dear Friends and supporters of Music for Kids: Thanks you, right direction???? The following is an e-mail that So where are the next B.B. Kings or Eric Buck Ormsby I have sent out to others that was usually returned Claptons, Yo-Yo Ma’s and Van Cliburn’s, or The Wailers Performing Arts Foundation with bad e-mail addresses! Please take the time to Quincy Jones’s, Cher’s, Streisands, and McCartney’s Committee for Planning and Events read it for me! And thanks in advance! coming from? How are we going to give our kids 2315-10 No. Pearl St, #127, I found your e-mail after doing a very exten- the kinds of opportunities and exposure to music Tacoma WA 98406 sive search on the internet for The Blubinos! I had that they want and need? Our public schools are www.wailersfoundation-wpaf.org a cassette of them back in the early 90’s. Well we suffering under extraordinary budget pressures, or www.1000guitars.org all know how long those cassettes can last! Do you and unfortunately it seems that the fi rst things to know if there are any New Cassettes or preferably go are money for music. any CD’s of this band! If I had a new Cassette I We are doing some- could copy it to a CD so it would sound good for thing about it. We’ve years to come! Please let me know if you can help established the The Wailers me! Thanks! Performing Arts Founda- Marv Wollam Redmond, Oregon. tion (WPAF), a non-profi t [email protected] 501 (c) (3) with the goal of LL providing kids, especially disadvantaged kids, with ON THE COVER: Jasmine Ash played mentoring programs, her fi rst gig with a full band at the Goodfoot scholarships, instrument Lounge July 12th and already the buzz is programs, and other ferocious. Her demo, produced by Ezra Holbrook, found its way to producer/artist support as they pursue Meredith Brooks in Hollywood who called their musical interest. Jasmine to compliment her on her vocal and There are any number of songwriting skills. (photo Buko) studies of the educational process for youngsters that suggest giving kids musical exposure early in life contributes to their ability to learn. Our main ‘03 fund- • Established 1979 • raising event is going to TWO LOUIES PUB LISH ING be on August 24, 2003 Editor: Buck Munger Graphics & Photo Editor: Buko at Cheney Stadium in TwoLouiesMagazine.com Art Director:Deb Tacoma, Washington -- McWilliams home of the Wailers. We Writers: intend to have more than Doug Fraser and John Foyston ‘78. S.P. Clarke • Bart Day • Annie Farmer 1,000 guitarists joining N.L. Fogerty • Lisa Ford • Den nis Jones in at the same time to play the “national anthem BIG O PICKER Denny Mellor • Robin Rosemond of rock ‘n’ roll” -- a song that the Wailers and the Illustration: Tim Rutter Dear Editor, Photographers: Kingsmen made famous -- “Louie Louie”. Our goal Since you document the track records of the David Ackerman • Buko is to set a Guinness World Record at the event. Oregon music industry I thought you’d be inter- Gustavo Rapoport • Pat Snyder “1,000 Guitars Louie Festival” will also be a ested in this snapshot (above) from 1978 of Doug full day of music, food and fun for thousands of Fraser and John Foyston with their 1959 sunburst Printed by: Oregon Lithoprint musicians and music lovers. There will be main Les Paul Standards in front of their British Vox Two Louies Magazine stage performances by the Kingsmen and the fabu- amplifi ers. 2745 NE 34th • Portland, OR 97212 PHONE (503) 284-5931 lous Wailers, plus several guests, and a 2nd stage I’ll bet they wish they had those guitars Email addresses: featuring kid’s bands and youth performers. today. Editorial: [email protected] We’d like you to be part of this effort by As anybody from Portland knows Doug Fraser Layout: [email protected] sponsoring one of our vendor booths, as well as went on to a storied career with bands like Quar- Web: [email protected] considering in-kind or cash contributions to the terfl ash and Johnny & The Distractions and John © 2003 by Two Louies Magazine. May not WPAF foundation to support its work with kids in Foyston became the Oregonian’s most popular be re pro duced in any form without the cooperation with the Boys and Girls Clubs of the music critic. ex pressed writ ten consent of the publisher. Two Louies is avail able by subscription. Send South Puget Sound. Booth sponsorships will cost John Barr $35.00 for one year, post paid. a mere $100.00 for private vendors and $75.00 for bayniebonkie@aol
Page 30 - TWO LOUIES, July 2003 TWO LOUIES, July 2003 - Page 31 �������������������������� ���� ����������� ������������
��������������� ��� � � ������� � ��� �������������� ����� ���� ����� ���� ������ ����� ����������� ��������� ���� ������ �������������� �������� � ��������� � �� �������� ���� � ������� ����� �� �������� ��������������������������� �� ��������������� ������������������������ ����� ������������ ���������� �� ����� ������ ������������ � �� � �� ��������������� ��� ��� ������������� �� ������������� � �� �������������������������� ����� ���������� ������������� �� ������������ � �� ������� ��� ���������������� ��� � ����������� ������������������� ������ ������������� �� ������ �������������������� ����������������� �� ������� ������ ��� � � �� ��� ������������� ��� ������������� ���� ������������������ ��� ��������� �������������� ����������� ������ ����������� ��������������� ������������������������� �� ���������� ��������������� �������������� �������� ����� � �� ����������������������������� ����������������������� ��� ����� ������� ���� ��������� ������������������� ������������������ �������� �������� ����������� �������� ���������������� ��������������� �������� ��������������������������������������������������� ��������