UGUST 1999 OREGON MUSIC / A

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ph LAMAR STILWELL GRINDSTONE OREGON LABEL GUIDE September 30-October 2, 1999 Embassy Suites Downtown Portland, Oregon

1999 North by Northwest Music & New Media Conference 3 DAYS OF PANELS 3 DAYS OF TRADE SHOW 3 NIGHTS OF MUSIC

Visit www.nxnw.com to register, book your hotel or to get the most current information.

NXNW has a new name in 1999, reflecting a new emphasis on the increasing role of new media technology in the music business. Registration rates & postmark deadline: $165 if postmarked by August 27, 1999 $195 walkup rate

NXNW headquarters PO Box 4999 SXSW Austin TX 78765 tel 512/467-7979 fax 512/451-0754 [email protected] www.sxsw.com

DRUM SHOP July, 1982 Map Of France Mania strikes Portland.

ew Wave enough for the downtown crowds and Punk enough for the sub N urbs, Map Of France grew out of an- other popular club act, the Results, which featured vocalist front man Joe Loren, guitarist Leonard Marcel, drummer Charlie DeFrank and bassist Mike Chriss. When Marcel quit the band to move to L.A. Loren and his rhythm section approached Duane Jarvis to form Map Of France. Jarvis, formerly of the Odds was leaving the J. Issac (Quarterflash) managed Mike Fingerutt band. Things happened fast. Bassist Mike Chriss also the owner engineer of Wave studios in Vancouver, re- corded Map Of France doing the Jarvis tune “Nobody’s Baby” and the song was immediately picked up by radio station KGON and included on the heavily promoted “KGON ’82" local music album. Map Of France’s bag was described as “Big Beat Dance Music” “Andy Gilbert at Pacific Talent got us a lot of gigs opening for Sequel and Mr. Nice Guy.” says Charlie DeFrank. “We were about the only band that seemed able to go over well in both the downtown clubs and the rock houses in the suburbs.” After a year, tragedy struck. In a session at Wave studios Mike Chriss’ fingertips were blown off by flash powder ignited in an ash tray. “The band never really recovered from that.” says Charlie. Mark Todd from the Distractions was brought Duane Jarvis (l.) and Joe Loren greet a fan. photo: Wilds in to replace Mike on bass. The band played that way for several months and then Duane Jarvis lobbied for L.A. with Results bandmate Leonard Marcel. ning album. Duane has several solo albums., the most a change in drummers. “Duane saw a chance to get These days Joe Loren is a Chiropractor in recent of which is “Far From Perfect” on Watermelon his brother Kevin in the band, who was also coming Bellingham, Washington and Leonard Marcel runs the Records. Charlie DeFrank is playing in the Mary out of the Distractions, so, to Joe it was like getting Arrowhead Film Festival in northern California. Duane DeFrank Band and shopping the recently completed the whole Distractions rhythm section.” Jarvis’ dreams of musical success have been realized in album entitled “Out Of Everything”, that features per- Map of France folded three months later when stints with The Divinyls, on Virgin Records and formances by Mark Spangler of the Distractions and Duane Jarvis moved to Los Angeles. Joe Loren fol- sideman stints with, among others, Lucinda Williams, Burrell Palmer of the Tommy Tutone Band. lowed shortly afterwards and ended up recording in who has a Jarvis tune on her current Grammy win- LL

After debating on a name, we decided on Jason For my part, I opened a subsidiary company LETTERS Ltd. after Buck’s real name. The Ltd. was a nod to our called Concert-One-Stop. We connected with Johnny British buddies. The principals consisted of myself, Thompson (a former SUNN Musical Equipment Letter From The Publisher Buck, Sunn office manager Sheila Bernson, Jim Colby, dealer) and Chris Sarns, former Road Manager for (singer in a rock band with Buck in the Marine Corps) Buffalo Springfield who was now working with a Part 3. (In parts 1. and 2. TL publisher Jim and Buddy Palmer; former Mousketeer on the Mickey “brand new” act called Crosby, Stills and Nash. Con- Crummy meets Buck Munger at a Hollywood party and Mouse Club (now the writer of TL’s Internetworking cert-One-Stop supplied sound equipment and road joins the promotional crew for Sunn amplifiers work- column.) Buddy grew up in Hollywood and was ex- personnel to major touring bands of the time. ing with the Buffalo Springfield, the Who, Jimi Hendrix tremely knowledgeable of the entertainment indus- During this same period Jason Ltd. signed per- and Cream.) try. With Jim Colby gone most of the time (touring sonal management contracts with several bands in- with Dr. John the Night Tripper) Buddy filled a cre- cluding the Los Angeles power trio Fat, which con- In 1969, Sunn Musical Equipment decided to ative void and was eventually named a partner in the sisted of Bob “Crusher” Metke on drums, Kent Henry close the Hollywood office. All of us on the staff de- Jason Ltd. organization. When we opened the doors on Lead guitar and Martin Kohl on bass guitar. Kent cided it was time to open our own music business Buck had contracts to produce Houston Fearless for (now the guitar tech at Apple Music) was this little production and management company. We rented an United Artists Records and signed agreements to skinny guitarist and Martin and Bob were huge fat office a block up Sunset in the 6515 Building, next manage Howard Roberts; the legendary jazz guitar- guys. Kent and Bob had already released one album door to the old Blue Velvet nightclub and right down ist on Capitol Records. Besides management, music on Mercury Records with a band called Genesis. Fat the hall from Atlantic Records. The building was full publishing and production business Jason Ltd also played the Whisky regularily and turned down an of labels, producers and music publishers. We were did marketing and promotion for musical instrument the first group of longhaired freaky musicians to move manufacturers. Continued on page 30 in. TWO LOUIES, August 1999 - Page 3 Steve Smith in the acoustic room at the Mt. Tabor Pub.

Page 4 - TWO LOUIES, August 1999 acoma, 1960, a peculiar little city, ment was much better suited to white com- possibly the appendix of the na mercial AM radio. A saxophone was used for T tion. Bleached and shriveled by the the opening notes instead of a bass voice. A silent onslaught of an eternal drizzle, the in- guitar break was thrown in the middle. (Don’t habitants have become masters of the art of look for any spectacular blues solo here: The indoor hibernation. song apparently drove Dangel into a state of School’s out and we pile into a ’52 Olds. Its aesthetic despair.) gray primer finish becomes invisible against the The third chord in the progression was perpetual drizzlescape as we go to hang out at the changed from a major to a minor to add a little house of a friend whose parents both work. We color, and the rhythm pattern was altered during play records and stare blankly at the rain through the chorus, the picture window. With great expectations “Louie Louie” was re- Music is an integral part of indoor hiberna- leased. Nothing happened. tion, especially in the pre-dope era. Besides, we’ve Outside of a little local action, “Louie Louie” got a band. A bigger deal, then than now. We’re didn’t catch on. There was only one explanation. listening to the unlikely combination of B.B. King, “Louie Louie” addiction must be a local phenom- Link Wray, Bobby Blue Bland and Duane Eddy. enon. A product of subtle changes in the organic Somebody mentions a new band in town chemistry of minds shrunken and warped by the called the Ventures. They will later make a record endless rain. called “Walk, Don’t Run,’” which will allow them A collective sigh of relief went up from the to escape the drizzle and flee to California, where area’s musicians. How they hated that endless they will crank out several kilotons of instrumen- three-chord cycle! It went nowhere, and to make tal party music albums. matters worse it was horrible to solo over the nag- Our singer produces a shiny, virgin 45 rpm ging harmonic problems of nightmare propor- record. He heard it on a Seattle R&B station. tions. “Hey man, you wanna hear somethin’ cool? “Louie Louie” seemed well on its way to atro- Listen to this!” phying into a small-time golden goodie. Or so ev- First the metallic sprong of the changer. Then eryone thought. a black bass voice singing a three-chord vamp. Fol- Mike Korgan aka Ken Chase; an honest man. hey were such nice boys. The kind you lowed by: could have over for dinner on Sunday. “Louie Louie, me gotta go!” TIvy League haircuts. Skinny ties. Red Yeah! You gotta go, all right! That’s the worst blazers with a sparkling little crown on the right shit I’ve ever heard! You can sing it all you want, but breast pocket. Complexions that radiated that mar- there’s no way we’re gonna play that in our band! velous WASP shade of pink. They were a credit to NO WAY! their community, which was Portland of 1963, and In the end, we must have played it ten thou- their race, which was light pink. Why even if one of sand times. them screwed your daughter, you knew he’d have This was the original “Louie Louie”, sung by a the sense to use a rubber, and a good quality rubber black man named Richard Berry. He opened a mu- at that, maybe even a Four-X. And if that failed, well, sical Pandora’s box that still hasn’t closed. he’d make a pretty damned good son-in-law after nother band in Tacoma also heard you got him a job at the phone company. “Louie Louie”. This particular group To top it off, these boys were clever. The four A was a greasier prototype of what was of them had formed a rock and roll band! And what to come in the late sixties: middle-class whites play- did they call it? The Kingsmen, of course. Perfect! ing black ghetto music, namely rhythm and blues. Absolutely perfect! Everybody was happy. Even high As an example, their guitarist Rich Dangel was a school principals. Rock music might be morally ob- master of Freddy and B.B. King blues in the early jectionable, but not when played by a band called sixties- long before anyone heard a peep from Eric the Kingsmen. A band with such a name would Clapton or Mike Bloomfield. by Pierre Ouellette surely be a shining example of our proud British The Wailers had earlier made a record called “Tall Cool One” that spasmodically bubbled under the national hot 100. The record earned the group “Chase immediately did away with one of the a spot on Dick Clark’s original American Bandstand, recording industry’s most solidly established which automatically elevated them to local demi- god status in the embryonic youth culture of 1959. procedures, overdubbing. The singer would sing and But now the boys were back in town. Looking the band would play. Together. Just like in the vision. for a song that would percolate all the way up the charts instead of frothing weakly underneath. They No rhythm tracks, no harmony tracks, no slick played “Louie Louie” at armory-type dances and got electric tricks. A single slice of reality on tape.” immediate positive response. It looked like the Big One. the studio and came out with the perfect No. 1 AM heritage. Surfin’ music had started to hang ten on In 1962, the Wailers were ready. They had radio hit. the AM charts and the Kingsmen picked right up formed their own record company, Etiquette. They The new “Louie Louie” followed the basic for- on it. High school sock hops, fraternity parties, had arranged a tried and true version of “Louie mat of the Richard Berry original, the same three shopping center openings, local TV shows - the Louie” from public performances. They went into chords and the same lyrics. However, the arrange- Continued on page 12

TWO LOUIES, August 1999 - Page 5 teiner all, every rock ‘n roller believes s/he has what it takes by Marianne S to be a rock star, and unless you’re an Ani Di Franco or the like, you aren’t gonna be able to do it yourself. With all that being said. Here’s how some of the local Indie folk have been spending their time and money: “Nobody’s gonna care about our bands the way we do,” states Christopher Cooper of Cavity Search Records, “and the label is as strong as for their products. Some ever.” Cooper’s confidence is backed up by the suc- achieve only the modest reward of having their name cess of Elliott Smith’s 1994 release on Cavity Search, he cool thing about talking to the Indie permanently attached to something that they have which contained the cut, “Roman Candle,” used with Label people is getting to listen to the created, and still others follow their vision by believ- other Smith songs in Gus Van Sant’s box office hit, T different perspectives, approaches and ing that what they have is good and they just keep on Good Will Hunting. “The success of Elliott’s release philosophies (as well as occasional bullshit) about truckin’, waiting it out and knowing when to jump allowed us to develop other acts, and now they are their acts, their success and their staying power. Most on the merry-go-round if it comes around. All of this taking off,” Cooper proudly announced. With an im- share common opinions: they want control and au- contributes to the success and failure of local Inde- pressive and seemingly loyal roster of artists, featur- tonomy. They’re not out to make millions (though pendent labels, which if you ask most musicians in ing: Pete Krebs solo & with The Gossamer Wings, it’d be nice if they did) and they want to maintain this town, they would rather King Black Acid, Richmond-Fontaine, Golden Deli- their integrity through their art- cious, Wayne Horvitz, Steve Lacy, Elliott Sharp & ist roster, their ability to sell Elliott Smith, the label appears to be product and to tap into sustaining itself and cementing its the pulse of the future relationships with its artists, some through their acts, with- of whom are putting out their 2nd out seeming deliberate and 3rd projects on the label. or band-wagony. Still, Since forming with partner there are others who sim- Denny Swofford, in 1992, ply see their label as an ex- Christopher Cooper has attrib- tension of themselves, a uted Cavity Search’s success- vehicle to promote their ful survival to “control.” “We own music or what they like, don’t spend money need- with less concern of lessly – we pay our own bills. whether it sells or not in We don’t have a sugar daddy. the real world market. We both have day jobs.” Coo- “Laborers of love,” if you per says the label is successful will. One does have to enough to work with artists ask, however, if there is who sell well, which gives the damage done to acts or label and the bands associated artists signed to the la- with it the security to avoid bel when that’s the “that nightmare of getting case. The big labels swallowed up by the bigger la- seldom want to get in- bels.” (Beliefs shared by other prom- ising Indie owners like Todd Crosby of volved with someone on ar- photo Buko tistic merit alone. If the Indie’s business approach isn’t Grindstone; the hardest working band. Cravedog Records.) Recent releases on in line, no big dog is gonna be bothered by fleas. I’m Cavity Search include Pete Krebs & Gossamer Wings’ sure lots of really talented and hopeful artists have have around to promote and market their band’s CD’s Sweet Ona Rose. Also The Rent, a live double-CD by been passed over by the bigger A&R people because than to do it themselves. Also, regardless of one’s at- Steve Lacy, all instrumental jazz. Richmond- they were signed to an Indie label that didn’t inspire titude about Indie labels, the agonizing truth is that Fontaine’s 3rd release on the label, Lost Sun is due out their confidence or didn’t know how to present a for every one band or artist who is lucky (or unlucky) in October, as is a Pete Krebs solo EP/CD. Golden Delicious will be releasing their 3rd Cavity Search of- fering, yet untitled, in November. The CD was re- “ ‘Nobody’s gonna care about our bands the way we do,’ states corded live at The LaurelThirst. Christopher Cooper Christopher Cooper of Cavity Search Records, ‘and the label is was also happy to tell me that Pete Krebs’ solo release in October will be the 50th produced on the label. King as strong as ever.’ Cooper’s confidence is backed up by the Black Acid, who “is one of our most successful bands,” according to Cooper, will be releasing their latest CD success of Elliott Smith’s 1994 release on Cavity Search, which in early winter. When asked what poses the biggest contained the cut, ‘Roman Candle,’ used with other Smith threat to an Indie’s success, Cooper says, “You can’t recoup money from bands that fail or break up.” songs in Gus Van Sant’s box office hit, Good Will Hunting.” Enough said. Look for a joint NXNW showcase this year with Cavity Search and J.Hell’s (Ozone Records’ package. In looking at Oregon’s Indie-labels, the dif- enough to have a local Indie label take interest in owner) new label, Wicked Witch Records. The line- ferences are markedly contrasting. Some do better fi- them, and god willing, help propel them toward a big- up will feature J Hell Band and Mandarin from nancially than others do, in pure dollars and sense. ger deal, there are probably 20 to 30 other acts out They know how to market and build a listener base there who wish themselves in the other’s place. After Continued on page 19

Page 6 - TWO LOUIES, August 1999 He is aided in this creative pursuit by former a feel similar to Tom Petty’s “Running Down A Haymaker lead-guitarist Kevin Jerde, former Red Dream,” as Steve interjects a stronger, more forthright Footed Genius bassist Tom Simonson and versatile lead vocal than we have come to expect from him. drummer Jon Beyer. Together they form Pacific Won- His sweet harmony backup vocals in the chorus nail derland. And while this ten song outing is filled with things down nicely, Jerde adds jagged, angular riffs well-written, well-played songs; Jerde, especially, beneath. A winning number. stands out for his imaginative fretwork— the sense is Stonesy guitar figures dress up the title track, that this is a band that has yet to fully flesh out its while Steve displays further vocal maturity. It’s a “Steve Lockwood is aided in this creative pursuit by former Haymaker lead-guitarist Kevin Jerde, former Red Footed Genius bassist Tom Simonson and versatile drummer Jon Beyer. Together they form Pacific Wonderland.”

many strengths, nor to learn how to play to them con- murkily sensuous cut with sharp guitar solos at its sistently. However, one would suppose, given the pedi- core. “Waiting For You” borrows some of its melodic gree of this particular outfit, that a little time is all essence from Don McLean’s “American Pie,” but suc- that is necessary to remedy that small cavil. ceeds as a jangly piece of Pete Droge-like confection— “Bible Says” kicks off the set, with familiar, dusty Droge being the ’90s approximation of a young Tom strains— a lonesome electric guitar arpeggiates in the Petty. “This Message” has a certain Matthew Sweet- left ear, while a noisy electric accents on the right, as ness within the haunting quality of its melody. Steve vocalizes in the center. Lockwood bears the The ensuing three tracks represent the heart of uncanny knack of sounding just like Glenn Frey in the album and neatly sum up the musical evolution his early Eagles days: soulful in a laidback sort of way. Lockwood has achieved during his hiatus. “Water A rockier tune, “Don’t Give It Up” recalls Jackson Tower” is a bluesy dose of swamp water, with a sleepy Browne in his younger, less apoplectic days. acoustic guitar shimmering across a militant drum American Made— Pacific Wonderland Jerde’s slashing guitar licks lend the intro to “It’s beat and a flickering electric guitar motif, culminat- Self-Produced Alright” ing in a 60s vibe that calls to mind the Vogues some- Hopefully our deficient attention spans will al- what, but even more so Tommy James and the low us to recall the name of Steve Shondells. Steve’s devilishly fluid vocal is a posi- Lockwood whom throughout the tive delight. mid-’90s was the leader of local alt/ “Murder” rides on Simonson’s fat bassline, country faves Haymaker. a snarling wah-wah guitar providing a Haymaker disbanded two sum- funky underpinning. Steve’s vocal duet mers ago, amidst great sorrow with himself mirrors that of Mick Jagger and gnashing of teeth among in the Stones’ “Fool To Cry,” while reflect- loyal legions of faithful fol- ing a bit of “Lemon” with U2. A noirish lowers and fans. Steve took tale of seduction and intrigue. Jerde un- a couple years away from leashes a succession of fiery solo guitar sal- the scene to dabble in differ- vos, adding to the tension that builds ent musical styles and, from what throughout the song. Jerde is the we might infer from the lyrics: to flame beneath the kettle on the commit to an extended period of in- blues mood of “Come Back tense personal assessment. Baby,” eliciting Neil Youngish What he has come up with here cries from his guitar in the is decidedly not “Haymaker II: The poignant choruses. Corn Ripens,” but a distinct new blend, It’s been a long road consisting of hints at the blues and for Steve Lockwood. Af- various rock flavors. ter building Haymaker Longtime fans need into a band that re- not worry, Steve’s ceived national atten- worn and weary tion, he retreated from blue-collar the success to re-evalu- worldview remains ate himself as a musician safely intact— his alt/ and a human being. The resultant re- country roots are still growing strong. cording serves as the perfect determination But the appeal of this material is that new photo Buko of the growth he has achieved. There is every rea- elements have been incorporated, creating a son to believe that his best years as a musician and much richer musical humus from which to grow songwriter lie ahead of him. Steve Lockwood; Best years ahead. anew. Continued on page 20

TWO LOUIES, August 1999 - Page 7 ork Hubbard, actor extraordinary was by Francine du Plessiz Gray. in town for The Little People Conven Speaking of books, Ex-Portlander, Mikal RosebudReviews tion. He came over for a BBQ during Gilmore of Rolling Stone Magazine, and author of C - Great his visit and shared some of his incredible stories and “Shot through the heart”, has been spotted doing re- - Good insights. He arrived with the beautiful, and charm- search in New York City. He’s work- - Fair ing, Sharon Knorr. She is an ing on a Puff Daddy Bio. Autho- - Poor actress and producer rized even. around town, In local news, Nail Distributors Freedom by Julie Larsen/Blyss Music/BMI who seems has recently purchased a building on SE intent on Julie Larson is such a beauty. Her music is fluid, clear, and strong. I heard about Julie through Billy Triplett. I recently worked with Billy on the Main Stage of Rose Festival. We hadn’t spent that much time together since 1982, when we both worked with Tony Demicoli at Luis LaBamba. We were deep into the Portland scene, and all had a a spiritual journey, with a sec- Hawthorne that the old TK Records was operating mutual love of Billy Rancher. Visions of great ond trip to India in the works. Eight of us sat outside, out of. Thor Lindsey has risen from the ashes, and people, and even better music come to mind. When eating grilled Walla Walla Sweets, and discussing the insists that TK is alive and kicking. He’s telling friends, he gave me Julie’s cd “Freedom”, I listened and fallen Prince. Cork said one of the highlights of his “TK just moved to more modest digs somewhere in found that somehow, her sound reminds me of Portland visit was going to a Micheal Hurley perfor- SE Portland, and I’m still operating.” He’s got stock my own past, and of Billy Rancher. “It’s because of mance. He enjoyed seeing the old and is selling stuff. No word on the the circles”. Billy Triplett told me he loves Julie’s “Rounder” family. Daniel Johnston record. On a creative music and she’s great! It turned out to be true! It’s Micheal Hurley’s al- note, Thor says he’s working with always time to face the music, and Julie Larson bum of all new mate- Tom Robinson on a project that in- does. This record begins with a great song called “Fly”. Julie’s singing is gut wrenching. “Freedom” rial is coming out on cludes Tom’s archival/historic/ pho- a ballad about making it and wanting it all. You Field Recording, Oc- tographs. work , you try, you wish for someone to show you tober 5th. There’s Courtney Love, and that it can be easy, is definitely a great song. Julie “Weatherhole” will be then there’s Courtney Taylor. Un- knows she’s going to make it. And I believe it. “If I distributed by Allegro, confirmed sources are buzzing choose” reminds me of Tori Amos. “Loosing Con- who are based in Port- about Courtney Loves, in-the- trol” is another astonishing composition that I ap- land. David Reisch and eyes, bleached, blond, hairdo that preciated. Her words, “I’m only human” touched Hurley will soon be leav- she was sporting on Letterman. me. “Heaven” proves Julie can sound great with a ing for a tour of England, Courtney’s been accused of lift- bottom end, and the rest of the record was bal- Scotland, Holland, and ing the “in your face” hairdo anced, well produced, and what can I say? Sweden. from her guitar player, Eric Except...... Julie Larson takes me to great places with Other Rounder Erlander. Eric, the token male of her music. She’s connected to the best parts of Port- news is that the July 18th, Hole is rumored to have been land, and it’s rich, musical history. Go buy it. Sunday New York Times ActorCorkHubbard. wooing Courtney Taylor’s (The Arts & Leisure section had Dandy Warhol’s) girlfriend. Monkey To The Monster a 1/2 page feature on The Apparently, she disappeared down Holy Modal Rounders. Since Steve a rabbit hole for three nights, after attending a Hole Weber moved back east to Bucks County PA, Weber, concert in Los Angeles. Courtney Love is telling I remained remarkably calm while listening Peter Stampfel, and Jesse Colin Young have been per- friends that Courtney Taylor is a progressive man of to this three song cd, that was recorded and mixed forming in clubs throughout Pennsylvania and New the late 90’s, and that his much beloved girlfriend, is digitally by John Cluff at Track Shack. Monkey To York. Their latest record, recorded last fall, is coming forgiven for her dabbling with Eric. Courtney Taylor The Monster describe their music as a combina- out on Rounder Records and is titled “Too Much Fun”. has also been sighted in N.Y.C., where he was report- tion of, “all elements artistic or otherwise”. I can relate. I enjoyed the first cut, “Broken”. The har- monies have a sweet sound. Reminiscent of the “Eric Erlander, the token male of Hole is rumored 80’s, The GoGo’s, Belinda Carlisle, and that “girl” sound. I dug the lyrics, “I could tell, you’re not to have been wooing Courtney Taylor’s (The well”. “More of This” is definitely my pick of the three. A slow, mesmerizing, down beat, with a Dandy Warhol’s) girlfriend. Apparently, she killer crescendo guitar lead. The nearly tuning up sound at the beginning of “More”, evolves into a disappeared down a rabbit hole for three nights, big guitar song that matches well with Hilary’s after attending a Hole concert in Los Angeles.” pleasant delivery. It sounds like they are just about to loose the melody at times. The words of the song keep asking, “How would you?”. I would pick Gus VanSant was recently honored in Los An- edly, recording an acoustic thing for the Internet. He’s up the bridge. I would also add that “Broken” has geles for being “Out There!”. Gus has been saying that telling folks that he’s, “still working on the record”, hit potential, but...it could use some practice. So, he still has Robin Williams in mind to play cartoon- and in search of the perfect producer. when Monkey To The Monster asks, “Do you want ist, Callahan in a bio movie based on “He won’t get What “World Class” dance company has been some more of this?” I say “Yes!” far on foot”. Gus is also talking about a screen version bouncing pay checks? of the best seller “At Home with The Marquis de Sade” Rosebud. LL Continued on page 30

Page 8 - TWO LOUIES, August 1999 RELEASING YOUR OWN RECORD wise to have them sign a short and simple “work for ASCAP. Assuming that the record contains one or A LEGAL CHECKLIST hire” agreement, to preclude any possible future more songs which you have written, and assuming claims by them that they are owed royalties or that that you are affiliated (or are becoming affiliated) with For artists who are releasing their own record they have ownership rights in the masters. ASCAP or BMI, you will need to file “title registra- for the first time, without the involvement or assis- 7. Producer Agreement. If you are using an tion” forms for each of your original songs appear- tance of a label, the process can be a little intimidat- outside producer, there needs to be a producer agree- ing on the record. This will enable your rights soci- ing, and it can be easy to miss some key legal details ment signed, defining (among other things) how the ety (i.e., ASCAP or BMI) to monitor the airplay of in the process. various costs of the recording sessions will be handled, your material. Therefore, here is a very basic checklist of issues what advances (if any) will be paid to the producer, 13. Trademark Notices/Registrations. Be very to be considered when releasing a record. Bear in and what producer royalties will be paid to the pro- sure that you have the legal right to use the group mind, though, that your own particular circumstances ducer. name and label name which you have chosen, and may dictate that you take certain steps which are dif- 8. Production Credits. Make sure that the pro- consider the advantages of filing trademark applica- ferent from, or in addition to, the various steps men- duction credits listed in the liner notes—for session tions for those names. Also, make sure that your liner tioned below. Also bear in mind that, due to space limitations here, it has been necessary to greatly over- simplify some of the issues discussed below. 1. Agreement Between Members of Group. If it is a group (as opposed to a solo artist) releasing the record, and if the group has not already formalized its relationship by way of a partnership agreement, incorporation, or limited liability company (“LLC”), then there should at least be a clear and simple agree- ment among the group members about how the fi- nances of the recording project will be handled. Also, people, producers, and others—conform to any con- notes contain a proper trademark notice for the name incidentally, it is always a good idea to deal with the tractual requirements. For example, the producer of your group, and (if applicable) the name of your issue of the ownership of the group’s name, as early agreement will often be very specific about how the own label. Information about trademark notices can in the group’s career as possible. producer’s credits are to be listed. For musicians per- be obtained at http://www.uspto.gov/. 2. Investors. If there are investors involved, forming on the record who are signed to a label, they 14. Obtaining A Bar Code. For information certain documents will need to be prepared, in order will normally need to be credited as appearing “Cour- about bar codes, check out the following website: to comply with certain Federal and State securities tesy Of” their label. http://www.adams1.com. Or call the Uniform Code laws. Be especially careful here. 9. Liability Releases/Permission Forms. You Council at (609) 620-0200 (Lawrenceville, New Jer- 3. Distribution and Promotion Strategy. need to consider the possible necessity of getting a sey). Many CD/cassette duplicators will, as part of Think ahead about how the record will be distrib- liability release or permission form signed in any of their service, provide you with a bar code for your uted, advertised, and promoted, and how much the following scenarios: (a) If a photograph and/or record. Ask about this when selecting a duplicator. money will be needed to effectively market the record. artistic image of an individual outside the group is Hopefully, the above checklist will help to re- Sometimes all (or almost all) of the budget for the included in the artwork, (b) If any of the artwork duce, at least slightly, some of the stress and strain of project is spent on recording and manufacturing which you are going to use is owned by any third party, putting out your own records. The key, of course, is costs, and there is little or no money left to effectively or (c) If any logos or trademarks owned by third par- to think ahead as much as possible. Some of the steps advertise or promote the record. This, of course, is ties appear in your artwork. There can be some tricky mentioned above, such as obtaining sampling clear- not really a legal issue, but is such common (and of- ten fatal) problem that I feel obliged to mention it here anyway. “For any cover songs appearing on the 4. Mechanical Licenses. For any cover songs appearing on the record, you must obtain a mechani- record, you must obtain a mechanical cal license from the owner of the song (i.e., the song’s license from the owner of the song” publisher), authorizing the song to be recorded, and providing for the payment of mechanical royalties. legal issues in this area, so be very careful here. ances and mechanical licenses, can take some time, In many cases this license can be obtained from The 10. Copyright Notices for Songs. Be sure that and a lack of planning can unnecessarily increase your Harry Fox Agency (212/ 370-5330, or the liner notes contain the correct copyright notices costs and/or delay the release date. http:www.nmpa.org). Allow six to eight weeks for for all of the songs on the record, i.e., both for your By thinking ahead, the odds are much better that this process. original songs and any cover songs which you are after the record is released, you will be able to spend For songs not licensable through Harry Fox, you using. Information about copyright notices can be your time and budget effectively promoting the must contact the publisher directly. Usually the easi- obtained at http://lcweb.loc.gov/copyright/ Also, record, rather than having to spend time doing re- est way to do so is to obtain the publisher’s contact make sure that the song credits correctly state for each pair damage. info from the “song indexing” departments at ASCAP song the name of the song’s publisher and the Editor’s Note: Bart Day is a Portland-based en- and BMI. publisher’s performing rights society (i.e., ASCAP, tertainment attorney in private practice. He is also 5. Sampling Clearances. If you are including BMI, etc.). (separately) the co-owner of ALLMEDIA, Ltd., a com- any samples on your record, you need to obtain 11. Copyrighting Your Original Material. Cer- pany with offices in Portland and Los Angeles. sample clearances from the publisher of the song tain copyright applications need to be filed promptly ALLMEDIA specializes in administering the licensing sampled and the label which owns the master being for your recordings and for your own original songs. of past hit songs for film, television, commercials, and sampled. Do this as early as possible, as there will be Use “Form SR” for copyrighting the masters of the computer games. some instances in which either the publisher or label songs, “Form PA” for each of your original songs on The reader is cautioned to seek the advice of the will not be willing to issue a license, or the licensing the record, and “Form VA” for the artwork (if you reader’s own attorney concerning the applicability of fee which they require may not be affordable. own the artwork and want to copyright it). the general principles discussed in this column to the 6. “Work for Hire” Agreements. For any ses- 12. Registering Your Original Songs with BMI/ reader’s own activities sion people, engineers, etc. whom you are hiring, it is LL TWO LOUIES, August 1999 - Page 9 they don’t get no one round there. TO EVERYONE WHO KEEPS ASKING: I did not name this column, and no, no one in SF gets upset when you call it FRISCO, they’re too busy having lives. My breakfast with ROCKIN RANDY; THE ROCKIN RANDY REPORT may or may not become a regular part of this column. Last time I talked to ROCKIN RANDY he had left SMOOCHKNOB for KNOTSTOCK and they weaseled us on a gig at SATYRICON. I have never held it against RANDIMAN that these twenty somethin” GRUNGY-DUNGHEADS insisted on putting THEATRE OF SHEEP on the mar- quee to attract a crowd, then totally dissed us on the door. I found a scrap of paper afterward at the door byRozzRezabek-Wright booth and it had a bunch of figures on it…the OTHER BAND (they don’t get a free plug for exploiting the dead e partied hard at the X-GAMES in San ing at the last Arco before the Siskiyou’s, we were gas- carcass that is THEATRE OF SHEEP) $125, Francisco last month. The coolest event sing up and I noticed the middle-aged clerk eyeing me KNOTSTOCK $80, T.O.S. $20, P.A. and LIGHTS $100, Wwas the STREET LUGE held out on the wearily, I thought maybe he was paranoid I was a rob- total door $425. If you’re gonna rip me off, for gods sake great highway down the steep winding curves by the ber. Then he asked me if I needed a receipt. When I said don’t leave an itemized accounting of it. CLIFF HOUSE. Did an on-camera with ESPN and got no he turned it over and handed me a pen. Then he Anyways, ROCKIN RANDY was no innocent by- a bunch of stickers and autographs from WADE SOKEL said “you’re a musi- cian right, my stander, but his ambition is an enjoyable roller-coaster (of team BIZO) among others. MTV was there so it must wife go to ride full of amusing anecdotes…and I like the guy, warts be rock’n roll related, right? Riiiiight. and all. His new outfit is called Met SARAH SPICER in SF to get SHAPESHIFTER and they are on their her debut blues rock album pro- way on a West Coast tour with a C.D. duced by JOHN LEE on PINCHIT RECORDS without having HOOKER. I was played a note in PORTLAND. AUG.12TH AT CLUB BOOMERANG IN S.F. (7 blocks from my apt. in the Haight). AUG.13 TH at the fa- mous WHISKEY A GO-GO, a sur- PINCHIT RECORDS prised to showcase. AUG.14TH at see her driving THE GIG in West Hol- about in the lywood. AUG.15TH at same 69 Fiat road- the TIP-TOP LOUNGE ster I had recently in S.F (now this is a mission been ticketed in down dive that I love for shows) by Mavericks and Half followed by the Moon Bay. It turns out COCODRIE mutual friend bassist/pro- AUG.16TH. Leaving S.F. ducer JAMES GORDON for the BLUE ROOM in from Pacifica had loaned it to Chico AUG.17TH on the trip her during her stay in the States. photo Buko home. The bands label is home to I thought she was from Britain and mentioned how GIFTHORSE, WORLD TRIBE, and the she bore a remarkable resemblance to Xena warrior prin- Cherry Bomb; all girl tribute to the Runaways, TEARAWAYS. The band has that 94.7 sound cess. At this point she told me she was from New Zealand will be at Satyricon October 9th. down and their C.D. entitled TORNADO ALLEY is ra- and “ This interview was now over.” I guess I should dio friendly. The music and lyrics are by ADAM ZWIG, have read the liner notes on the first CD. Oops! that movie you’re in up in Portland last weekend.” Yeah, drummer TRES MILES landed in Portland with JOHN I keep running into the mayor. Shortly after a photo I’ve done a lot of things but people seem to remember DEAN (who plays the other guitar) after leaving a band called TREADMILL in ALBUQUERQUE, with good na- “I asked Rockingus Randius for some hot rock gossip and the best he could tured dudicus maximus RANDY handling bass duties. I asked ROCKINGUS RANDIUS for some hot rock come up with was ‘Andrew Loomis got his phone disconnected’.” gossip and the best he could come up with was ”AN- DREW LOOMIS got his phone disconnected”. No, no, I of myself, my son Madison, and SF mayor Willie A. that. “I’ve got a new CD coming out,” I replied like some mean good gossip like you’re having sex with DAN Brown Jr. was taken, we met again while he was posing stock answer. “ Well, uh, could you autograph this. We REEDS girlfriend or something”. RANDY looked at me in front of STORYVILLE jazz club next door for the don’t get anyone around here. Just make it to John and with a straight face and announced “I’m having sex with neighborhood clean-up project. When the photos were Joyce.” And I did. The angst and sadness in his voice DAN REED”. When I inquired who was on top he bel- done I got him to put down the broom and scribble an when he said “ We don’t get anyone around here. Struck lowed “DAN REED is my BITCH!” At that point sens- autograph for my kid. me as hilarious and we joked about it all the way North ing we were soon to be evicted from the diner we de- Speaking of autographs I have now achieved ce- to Portland. He must not have liked Shakespeare much. cided it was time to find the next whiskey bar. That’s lebrity status in Ashland Oregon. At 1:30 in the morn- If you’re going that way, say hello to this night manager, Continued on page 26

Page 10 - TWO LOUIES, August 1999 With Universal Music Group and BMG already signed on as well as major internet music sites like tunes.com, rollingstone.com, thesource.com and downbeatjazz.com. EMI on the other hand has decided to throw it’s hat into the ring with Liquid Audio, receiving shares of stock in exchange for it’s use of their software to encode music from their library for digital delivery. EMI also recently agreed to license its library to cus- tom compilation site Musicmaker.com. Sony an- nounced very shortly after the initial formation of NEW KID ON THE BLOCK protection of their intellectual property. Never the the SDMI its intention to form with Microsoft to he new company, Supertracks, founded less, faint heart never won anything and the stakes pursue their digital rights management technology. by Portland software entrepreneur for future profit are huge. Case in point, our little Where does this all lead? Enter Jim Burger, a TCharles Jennings, plans to be selling digi- friend the Rio player, with which Mr. Hudson is so partner in the law firm of Dow, Lohnes & Albertson. tal music on line by the end of the year. intricately familiar. According to information released It is Burger’s perhaps not so enviable role to act as a Reluctant to divulge specifics, Jennings did say by Diamond, the little guy sold over 200,000 units in point person for all of the aforementioned heavy- that the company is taking a “whole new approach to the last year. That’s just one product in a field of prod- weights involved in SDMI. the thing” and indicated that the company planned ucts expected to explode over the next 12 months. In a recently released article, when questioned to form alliances with “the whole supply chain” of Supertracks has also announced its participation at about how this all comes together he had the follow- music suppliers, from record labels to manufacturers NxNW so be sure to stop by their booth. We applaud ing to say. “In terms of how music will be distributed of playing devices. Sounds like sort of a one-stop- their initiative and wish them well. on the Internet in the future, I think it’s an evolving shopping concept for all things related to digital mu- ONE STEP FORWARD, TWO STEPS BACK? matter,” says Burger, who’s careful not to invest too sic. As previously mentioned, the SDMI did ratify much in the prenatal SDMI standard. “Frankly, SDMI Initially backed to the amount of and release their portable device specifications is just one method. Whether or not it will work isn’t about $2.5 million by local investor which will allow manufacturers to move ahead decided in the [SDMI] meetings. The market will Craig Berkman, the company and it’s with manufacturing and distribution plans to make that decision. “As far as my clients are concerned, partners are currently amassing an bring additional product to we’re not wed to one solution, but we do want to see “encrypted inventory” of songs with market in time for Christ- more music content on the Internet,” he adds. “To a the intention of selling them online by mas. As has been previously certain degree, we can get them started selling music. Christmas. Sherry Lamoreaux, com- reported, no less than half a Whether it’s [the major labels] or another player that pany marketing exec., says the com- dozen new portable players succeeds in the market remains to be seen.” pany expects to announce it’s are expected to be brought to Though not exactly a ringing endorsement, partnerships sometime dur- market by the end of the year. Burger does think that his clients have been able to ing the month of Sep- The first new product steer SDMI in a more reasonable direction that will tember. Ms. from Creative Labs, The No- allow for better competition and access to the digital Lamoreaux also mad, which features things music market. Hmmm? That would appear to be a confirmed that like fm tuner, removable very politically correct as well as legally proper posi- Supertracks is an The Nomad; memory cards, docking sta- tion statement. Seems to me there’s either some seri- SDMI member. 2 software programs tion and 2 different software ous back peddling here or a major rethinking of the The company also programs, including MusicMatch Jukebox, is already enforceability of the SDMI all together. Especially af- announced it’s newest addition to their management out as well as a new model of the Rio scheduled for ter the butt kicking the RIAA took in last month’s team. Mr. Michael Hudson, former Chief Technical sometime 3rd quarter. court decision. Insiders however, may have a totally Officer and Vice President of Diamond Multimedia, Certainly, the portable market is where all the different perspective as to the “bigger picture”. Cer- will assume the position of CTO for Supertracks. attention is focused in terms of the SDMI’s initial im- tainly, Supertracks introduction into the scene at this Plunging into the on line digital distribution of pact. Having defined the specifications, manufactur- time suggests that. music as a start up company at this point in time is at ers can now insure that their devices will be able to Bottom line, he’s absolutely correct, it is the least a very bold move but considering their SDMI comply with whatever encryption technology they market place that makes the final determination as affiliation, along with the recent introduction of their ultimately decide on. And that’s really where the ulti- to what they will or won’t accept. Speaking from long new CTO, it’s safe to say they have a very comfortable understanding of the entire process that’s ongoing and “So far the leader in the arena for digital rights are in a much better position than most to make a decision of this magnitude. A brave move none the management technology appears to be InterTrust. With less considering the current status of the SDMI (Se- Universal Music Group and BMG already signed” cure Digital Music Initiative) which has only just re- leased its first position paper on the specifications for mate question is as to how this is all going to shake standing experience, the marketplace can be a very portable digital music players. The SDMI’s portable out. The big five record labels who were initially re- fickle and unstable environment. Get people too con- device specification Version 1.0 was ratified on July sponsible for driving the process to form the SDMI fused about what to buy or what format to use and 8th. For anyone that’s interested, you can find the full in an attempt to respond to the raging beast known you could end up with an open revolt. If they keep specification along with everything else that’s new and as MP3, have all decided that the process is too slow this up, we could be seeing a re-enactment en mass topical on the SDMI’’s web site at (http:// and convoluted, and have all struck out on their own of the famous scene from the movie “Network” (co- www.sdmi.org ). to establish their own approach to digital rights man- incidence?) where we all stick our heads out the win- It’s also a brave move because even the big five agement technology. dow and scream at the top of our lungs, “We’re mad record companies haven’t been able to come to terms So far the leader in the arena for digital rights as hell and were not going to take it any more”. Ya with a commonly accepted format for the copyright management technology appears to be InterTrust. think? LL

TWO LOUIES, August 1999 - Page 11 for the session consisted of bass, drums, guitar, elec- tric piano and vocal. The production of this session LOUIE LOUIE is among the most bizarre in the annuls of pop mu- Continued from page 5 sic. It establishes Ken Chase as either genius or mad- man. Take your pick. Kingsmen had it sewed up as the exclusive local in- To begin with, Chase had trouble with the en- terpreters of the Beach Boys, Dick Dale et al. But gineers. It seems that they had some staunch con- the Kingsmen also had as ear to the north. They ceptions about the nature of music in general. After were impressed by the superior musicianship of the all, they had spent years attentively listening to the Wailers and tried to imitate great players of the century: Glenn some of their material. One Miller, Harry James, Frank Sinatra tune made an instant impres- and, finally the genius of Tony sion. Enter “Louie Louie”. Bennett. When they heard the At this point, the Kingsmen warm up, they recoiled Kingsmen’s instrumentation in horror, but then quickly recov- consisted of two guitars, bass ered. Here was the ultimate chal- and drums. The lead guitarist, lenge to their technical virtuosity! Mike Mitchell, said he’d learn Through electronic sorcery they the words to “Louie Louie” so would convert this savage disso- they could start playing it right nance into a truly tasteful work! away. But the rhythm guitar Chase’s conception was dras- player, Jack Ely, beat him to it. tically different. The vision of the Ely’s initiative assured him a “Louie Louie” marathon still permanent position in pop burned violently in his cerebrum. music history. His vocal im- It was the sound track from this pressions would ultimately be vision that he wanted to duplicate inscribed on eight million, five in the studio, loud and belligerent hundred thousand separate though it was. After listening to pieces of vinyl. Ken Chase as music director KISN the initial saccharine efforts of the While the Kingsmen were toying with their engineers, he took over the controls himself. new discovery, they came into association with a Chase immediately did away with one of the man named Ken Chase. People like Chase are al- recording industry’s most solidly established pro- most nonexistent in the music business. During late cedures, overdubbing. The singer would sing and night super drunk tavern booth conversations the band would play. Together. Just like in the vi- among road weary musicians, you’ll hear mention sion. No rhythm tracks, no harmony tracks, no slick of someone who sounds like him, but your survival electric tricks. A single slice of reality on tape. The instincts make you instantly recoil and reject the tune opens with a Hohner electric piano playing the “It doesn’t sound right. It’s missing a certain frantic loudness, especially the vocal. Chase suspends the vocal mike from the ceiling three or four feet above Ely’s head. All right, Jack… all you have to do is stand there and scream until your esophagus ruptures.” information. But for once it’s true. Ken Chase is an three-chord vamp. The rest of the band comes crash- honest man. ing in like a wounded rhino. Ely starts to sing. Chase Chase was a DJ and music director for KISN, fiddles with the pots. the local top 40 station. Wait a minute! On a Friday morning in May of 1963, Ken It doesn’t sound right. It’s missing a certain fran- Chase and the Kingsmen entered the studios of tic loudness, especially the vocal. Chase suspends the Northwestern Inc. to record “Louie Louie”. North- vocal mike from the ceiling three or four feet above western had never produced a hit record of any kind. Ely’s head. All right, Jack… all you have to do is stand It would never produce another after that day. The there and scream until your esophagus ruptures. studio was located in the basement at West 13th and Ely manages to do it in his incredible nasal man- Burnside, an intersection on the fading fringe of ner. Chase nods in satisfaction. The engineers are ap- downtown. Later Northwestern moved and the palled. It sounds so horrible that it defies description. building was converted into a coffee house, com- However, it’s also worth several million dollars. plete with narcotics raids and third string acid rock bands. Today, it is leased by a ballet school and sev- (Ed note: This story first appeared in Two Louies, eral other small businesses. February of 1980.) The Kingsmen had recently added a fifth mem- ber, Don Galucci, on piano. So the instrumentation LL Page 12 - TWO LOUIES, August 1999 Burnside Records CM Records 3158 E. Burnside 8948 S.W. Barbur Blvd. Portland, OR 97214 Portland, OR 97129 (503) 231-0876 (206) 233-8530 voice Fax: (503) 238-0420 Fax: (509) 782-4414 Email: [email protected] Owners: Craig Meros, Web: http://www.burnsiderecords.com Amy Flynn OREGON LABEL Owners: Terry Currier & Jim Brandt Producers: Michael Producers: Various Par, Calvin Walker, Types of music released: Blues Peter Cusumano, Matt Artist roster: Mason Ruffner, Burke,Darik Peet. Henry Cooper, Paul Brasch, Types of Music Johnny & the Distractions, Released: All types. John Fahey, M.Doeherty, Mick Preferred Submis- Clarke, David Friesen, Obo sions: Not accepting Addy, Lloyd Jones, Too Slim & submissions currently. the Taildraggers, Kelly Joe Artist roster: Beluga, Captain Owner: Todd Crosby. Phelps, Terry Robb, Duffy Butphuk, The Drews, Glenn Producers: Luther Russell, Bishop Band, McKinley, Gary Falkenberg, Havana Blast, The Johnny Beluzzi, Larry Crane, Criminal Records Myrick, Sheila Wilcoxson Bill Hydropods, Neil Henderson, Various P.O. Box 25542 Rhoades & Alan Hager, Bugs Just Plain Bill, The Kegel Types of music released: Portland, OR 97225 Henderson. Muscles, Limegrind, Moral Various. (503) 244-5827 Distribution: Burnside sub- Crux, The Nivins, Moss Dog, Types of deals offered: Varies. Contact: Paul Jones distributes two Portland based Napalm Beach, Partner, Artist roster: Little Sue, Types of music released: labels: The Magic Wing and Picklehead, Stickerbush, Snow Fernando, Warren Pash, Luther Northwest Blues, R&B. Eurock. National distribution Bud, Snaut, Sarge Stransky, The Russell Preferred submission formats: through Distribution North Swine, Sweat, Silicone Jones, Distribution: Valley, Burnside, We’re not looking for new America and Rock Bottom. Calvin Walker. Redeye, Miles of Music, CD artists right now. Affiliated Labels: Sideburn Distribution: Performance NOW, Amazon.com, Music Kinds of deals usually offered: Records. Types of music (New Jersey), Mosh Pit Boulevard. CD, cassette. released: Roots Rock Artist (Colorado), Asia-Pacific Artist roster: Claire Bruce, Paul Roster: 44 Long, Rudy Tutti Hawaii, Japan), Tower (Asia), Crazy Bastard Records deLay Band, J.C. Rico, Linda Grayzell CM Records (Oregon &Wash- PMB-831 Hornbuckle, Lloyd Jones ington). 16420 SE McGillivray, 103 Struggle, Dave Stewart, Jim Candelight Records Vancouver, WA. 98683 Mesi Band, Joe Dobro, Too 2125 S.W. 4th Suite 305 Cloud 99 Productions, Ltd. 503-293-5409 Slim & the Taildraggers, Paul Portland, OR 97201 P.O. Box 3939 Email: [email protected] Jones, Shade. (503) 226-3538 Salem, OR 97302 Owner: Andrew Bentley Fax: (503) 221-0556 (503) 370-8116 Types of deals offered: Tribute Elemental Records Fax: (503) 370-8116 Compilations P.O. Box 1617 Cavity Search Records Owners: Nathan & Nettie Artist Roster Featuring: Village Eugene, OR 97440 P.O. Box 42246 Steinbock Idiot, Witch Throttlegush, (541)345-1429 Portland, OR 97242 Personal Manager: Seymour Plaid Pantry Project, The Fax: (503)342-2827 Email: [email protected] Heller. Procrastinators, Iommi Stubbs, Email: Website: www.cavitysearchrecords.com Executive Producer: Danny Little Mission Heroes, [email protected] Owners: Denny Swofford, Kessler. Threscher, Bastard Children of Owner: Jonathan Boldt Christopher Cooper Producer: Dick Monda. the Roman Empire, N?Jas, The Producers: Drew Canulette, Bill Types of Music Released: Type of music released: Jazz, Secludes, Thy Infernal, Hyper- Barnet (Artist’s preference is Music we like by bands and Country, pops Contemporary, thermia, 90 Proof, The Delin- negotiable.) artists we like. M.O.R. and children’s albums. quents, Evil Genius, Fall From Types of music released: Artist Roster: Pete Krebs solo, Artist roster: Lisa Haley, Li’l Grace, Naked Violence, The Alternative Rock (whatever Pete Krebs & Gossamer Wings, Elmo and the Cosmos,Dick Jimmies, Drain Bramaged, that means anymore). King Black Acid, Richmond Monda and Daddy Dewdrop. Vaginal Discharge, Genocide Preferred submission formats: Fontaine, Golden Delicious, Rapers, Fist Material, The Cassette; with accompanying Wayne Horvitz, Steve Lacy, Cravedog Records Dwarves, Drain Bramaged, touring / gigging information. Elliott Sharp, Elliott Smith P.O. Box 1841 Bomf!, WitchThrottlegush, Kind of deals usually offered: Portland, OR 97207 REO Speeddealer, GBH, Fang, Full-length CD projects, one- (503) 233-7284 John Cougar Concentration off singles for compilation Email: [email protected] Camp, Blag Dahlia, Stagger, projects. Web: www.Cravedog.com Monkey Fur. Continued on page 14

TWO LOUIES, August 1999 - Page 13 I PUBLIC N: W ! Email: [email protected] http://www.teleport.com/~flyheart/ • Visit our Fun New Pro Audio Store, Studios, & Plant OREGON LABEL Catalogue: • Cheap prices on the Coolest stuff like Mackie Digital http://www.teleport.com/ mixers, ProTools24, CD Burners & Neumann mikes! ~flyheart/fhcatalg.htm • Cheap CD and Cassette Dupes- Any quantity! Owner: Jan Celt • Quick CD Copies! • New Digital Mastering Studios Continued from page 13 Producer: Jan Celt • Cheap DAT, Cassette, & CDR blank media prices! Types of music released: • Everything for recording under one roof for Musicians! Artist roster: American Girls, Original Northwest artists and Sweaty Nipples, Floater, Jolly related projects. Mon, Henry’s Child, Glowing Preferred submission formats: Corn, Anzio Bridgehead, Demo cassettes. F NEW STORE NW 19 & K Dutchboy Fingers, Tao Jones, Kinds of deals usually offered: CYBER GEEKS: .. 228-2222 International Anthem, Aggro Album projects, Publishing of Batch, Northwest Ungrunge related materials. and Northwest Post-Grunge, Other services offered: pro- compilations featuring El- ducer services and bands emental recording artists as wishing to make their own well as: Black Happy, Cherry releases. Poppin’ Daddies, Mommy, Artist roster: Janice Scroggins, Rubberneck, Sadhappy, Sweaty Tom McFarland, Obo Addy, Nipples, Thunderjelly, Village The Esquires, Napalm Beach, Idiot, Artis the Spoonman, SnoBud & the Flower People, Bogwan, Built to Spill, Dirt Snobud Comics by Chris Fishermen, Fingers of Funk, Newman, Phillip’s Dream Hitting Birth, Imij, Medicine World coloring book for Hat, Neros Rome, Rhino children, written and illus- Humpers, Rorschach Test, trated by Chris Newman, Eddie Running with Scissors, and Harris, Thara Memory. Tiny Hat Orchestra. Distribution: Burnside. Distribution: Distribution North America (DNA), Valley IMP Records Records, Dutch East India, P.O. Box 34 Bayside, Rotz Records, Mean Portland, OR 97207 Street, Impact Music, Ivy Music Owner: John Flaming and N.A.I.L. Types of music released: Punk rock. Kind of deals usually offered: 15480-B SE 82nd Drive Eurock Records Singles. Clackamas, OR 97015 P.O. Box 13718 Artist roster: Spinanes, The Joe Casimir Portland, OR 97213 Shaven, Jackknife, Oswald Five- Used Guitars & Amps 557-4668 (503) 281-0247 O, Mudwimmin, Crackerbash, Electronic Repairs & Custom Modifications Fax 557-4670 Fax: 281-0247 Calamity Jane, Barbara Lien, A Factory Authorized Service for all major brands Email: [email protected] Dick Did. Used Equipment including vintage tube amps. Owner: Archie Patterson Large Tube Inventory MTS Types of music released: Jus Family Records License recordings by Euro- 2718 S. W. Kelly Ave. Suite 316 pean & American artists. Portland, OR 97201 Preferred submission formats: CD’s. (800) 757-1851 RON CHICK RECORDING Kinds of deals usually offered: CDs. Fax: (503) 239-0758 Artist Roster: Dweller at the Owners: Terrance Scott, Bosco Now Open in Vancouver Threshold, Gandalf, Robert J. Kawte Horky, Erik Wollo, Green Isac, Types of music released: Hip- Tim Story. Hop, R&B and any other form Full In-House Production Distribution: DNA North of good music. America, Burnside Records. Preferred submission Formats: 10 Years Experience cassettes Flying Heart Records Artist Roster: Cool Nutz, 4026 N.E. 12th Ave. Kenny Mack, G-Ism, Monkey (360) 571-0200 Portland, OR 97212 Mike (503) 287-8045

Page 14 - TWO LOUIES, August 1999 Lazy Bones Records Rainforest Records 9594 First Ave. N.E. Suite 230 1122 S.E. Ankeny St. Seattle, WA 98115-2012 Portland, OR 97214-1324 (206) 820-6632 (503) 238-9667 Fax: (206) 821-5720 Fax: (503) 238-9814 Owner: Scott Shorr Email: [email protected] Producers: negotiable Owner: Ray Woods. Types of music released: Producers: Ray Woods, Michael Everything but Country. Cubbon, and the bands. See Us Preferred Submissions: CD’s & Types of music released: All “MAN IN A GLASS” cassettes. types of music (no limits). on the Web THE EP FROM PIPE DREAMS Kind of Deals usually offered: Preferred submission formats: http://www.users.uswest.net/~bvp ON CD Full length CD. We no longer respond to Artist roster: Headland, Neros unsolicited demos. Rome, Turntable Bay, Black- Kind of deals usually offered: FOR BOOKING CALL 505-5056 head Varies; Singles, albums, Distribution: ILS (Mercury), recording, production and Burnside Distribution. national/int’l distribution. Artist roster: Silkenseed, The Lucky Records/Macman Music, Inc. Brainwashers, A Nat Hema, 10 N.W. 6th Avenue Obscured By Clouds, Julie Portland, OR 97209 Jones, The Redondos, (503) 248-1988 LoveNancySugar, Sylvias I N N E R S O U N D FAX: (503) 227-4418 Ghost, Jesus Presley, Doris P r o A u d i o R e p a i r Contacts: David Leiken, Daze, Cheralee Dillon, Land of s i n c e 1 9 7 8 Marlon McClain, the Blind, Tree Frogs, Gravelpit, F a c t o r y A u t h o r i z e d S e r v i c e : Producers: project by project. H.E.A.D., Naked Violence, Alesis Denon Fender Fostex Korg Marshall Types of Music: Rock, R & B, Savior, Roger Nusic, New Bad Peavey Roland Sony Tascam Yamaha Funk, Fusion, Blues Things, Shine, Pleasure Center, and most other brands Artist Roster: Dazz Band, Vail W.O.R.M. (Wammo), Affirma- 1818 SE Division Street • Portland • OR 97202 • 503-238-1955 • email:[email protected] Johnson, Curtis Salgado & tive Action, Medicine Sunday, Terry Robb, Dennis Springer, DickFinger, The Shaven, The U-Krew, Sequel, Dan Reed Refreshments, Caustic Soda, Network, Shock. Billy Snow, Live at Laurelthirst Distribution: Independent, Compilation (15 bands). City Hall Distribution: N.A.I.L., Burnside Distribution Corp., National Dust Records various others. P.O.Box 2454 Portland, OR 97208 Space Age Bachelor Pad (503) 903-0625 P.O. Box 10494 Contact: Shan Eugene, OR 97440 Producer: the bands choice. (541) 343-5962 Types of music released: Punk Fax: (541) 683-3524 rock, rockın roll. Email: [email protected] Preferred submission formats: Owner: Stephen Perry. tapes/records. Producers: Stephen Perry. Kind of deals usually offered: Contact: Spirit Cole % of product pressed. Types of music released: Artist roster: Apt. 3G, Nixon Swing, Ska, Rock, Punk, Acid- Flat, Nervous Christians, Rock. Jimmies, Low Rent Souls, Lazy Kind of Deals usually offered: Boy. Depends on artist. Distribution: Profane Exist- Preferred Submissions format: ence, N.A.I.L., EFA (Europe). CD or Cassette Artist roster: Cherry Poppin’ Daddies, Buckhorn, Billy Jack. Distribution: N.A.I.L., DNA

Continued on page 18 TWO LOUIES, August 1999 - Page 15 THE GRAND OL' SOAP OPRY

ON THE COVER - Lamar Stilwell of Grindstone. Riots. Looting. Rapes. Forty four arrested. backstage area. It was surreal watching Puff The band heads in to Falcon studios this month A hundred and fifty dollars a ticket. Four bucks Daddy hang out with Mini Me dressed up in an to record, “No Where Under” with Sean Norton for a pretzel. outlaw biker’s vest. Everybody was cool, there at the board. Lamar says the second Grindstone “You screw people out of four dollars for were no weird attitudes. It was a blast.” LP will contain “more acoustic elements”. water and ten bucks for a burrito, it’s gonna come Everclear is set to appear on David back and bite you on your fat greedy gluttonous Letterman, August 17th. They’ll play a cover of Front page story about Portland in Bill- ass.” read a message posted on the Woodstock “The Boys Are Back In Town” from the Mercury board. website, the day after. Records soundtrack album of the new movie, The Internet music business finally gets fig- Promoters should consider “Detroit Rock City” -”the story of four ured out. It’s all down to content, and who an image makeover for the freewheelin’ teens on a mission to scam their way already has exclusive distribution event. into a sold-out Kiss concert in 1978.” rights to the record label’s musi- The Mercury soundtrack LP also has cal material? cuts by Marilyn Manson, Pantera, Distributors. Drain STH and Kiss. And Portland has one of the Everclear’s track was chosen hippest. as the first single. The August 7th BB cover MTV added “The Boys Are story, “Digital Rights For Sale”, Back In Town” to the playlist, by Don Jeffrey, dateline New July 31st. The Hollywood Film York, “Allegro Corp., a Portland, Premier for “Detroit Rock City” Oregon-based independent takes place August, 9th at the Mann distributor of about 200 la- Theater Everclear will provide bels covering a variety of music for the function with Kiss genres is packaging the digi- and members of Cheap Trick tal rights from these labels into “The first concert I ever saw a new company that will be sold in 1977 was Kiss and Cheap to the highest bidder.” Trick,.” says Brian. “Now here I To be called ADD.com. am, about to play live with them “Executives will not disclose the at a movie premier.” price Allegro is seeking for the digital company. Sources say it is difficult to put a value Has rock-n-roll forever lost that lovin’ feeling? on digital rights since no one knows what the Marlon McClain and Michael Mavrolis; Detailing the Woodstock violence, MTV’s market is going to be like or what consumers are precious metal in Hollywood. going to be willing to pay for downloads.” Kurt Loder, in Entertainment Weekly ((8/6) says “Research firm Jupiter Communications, in Drop the Woodstock moniker, there must he “felt the first real danger on day 2 of the week- a recent report, estimates that sales of music from be another historical pop music culture event end event, during Limp Bizkit’s ferocious early- digital downloading will be only about $300,000 they can rip off. evening set.” this year but that in 2003 they will have grown to Does the name “Altamont” ring any bells? “There was a hateful, hostile feeling com- $146 million...” Ya...the headliner from that one is still touring ing off the crowd in waves-kids were throwing That $146 million in downloads will be less and maybe Harley would sponsor it... bottles at each other and at security guards and than 6% of the total 2003 online music revenue. stagehands.” New money for music. Portland’s music scene made Woodstock “It was just ugly and out of control and Fred “Allegro is a private company whose annual too... Durst just exploited that and jacked it up.” revenue is about $40 million. Allegro’s music is Everclear went on at 3:30PM Saturday, fol- Limp Bizkit’s frontman shouted from the about 33% classical, 33% Jazz, 15% World and lowing Bruce Hornsby, and “by then the crowd stage, “Let’s all start some shit.” 19% other genres. The only types of music Alle- was ready to rock”, says EC percussionist Brian gro does not distribute are rap and alternative.” Lehfeldt. Five months ago, Limp Bizkit embarrassed Allegro’s deal will change the music busi- “I looked across the stage at my buddies, and Portland. ness. then out over a sea of 175,000 faces, and man, Interscope Records marketing strategy for I’m thinkin’, this is a long way from Satyricon...” the band was the subject of a story in the New Speaking of how the music business changes, “There must have been 2,000 people in the York Times, April 2, 1998. how about Woodstock, thirty years later?

Page 16 - TWO LOUIES, August 1999 BY BUCK MUNGER The Times revealed that Limp Bizkit’s la- Brion is “currently working on Chico the Portland band Pleasure on Fantasy Records bel, Flip/Interscope had paid Portland radio sta- Debarge” for Universal. in 1974 .From ’76-’80, six Pleasure singles made tion KUFO $5,000 to play the track “Counter- James career is managed by home boy Billboard’s R&B charts. feit” fifty times over a five week period. Michael Mavrolis, who, with his then partner, Pleasure was “Influential”. Like an Alan Freed nightmare. Marlon McClain, moved to Los Angeles after “The last Miles Davis record looped a According to the Times this made KUFO, their hit “If U Were Mine” by U-Krew in De- sample of ‘Thanks For Everything” says Marlon’s “the first rock radio station to use pay-for-play cember of 1990. manager David Leiken. “The first Sugar Hill hits in the country.” Mavrolis says Brion is tearing it up in Hol- were raps over Pleasure songs.” Portland...best payola in the Marlon’s ASCAP music publishing USA...thanks loads. company, MacMan Music is administered Billboard weighed in on the is- from Double Tee’s local offices. “MacMan sue of pay-for-play with in- has three songs in Kenny G’s catalog.” says depth coverage “Pay for David. play occurs when a station These days in Hol- receives the money up lywood Marlon is pro- front and discloses ducing an album of to listeners at the 70’s Funk superstars in- time of the broad- cluding Rick James, cast that the song or Gap, SOS, the Ohio block of program- Players, Confunkshun ming involved has and Marlon’s own act, been paid for.” the Dazz Band. KUFO preceded its In addition to re- playing of “Counter- leasing the compilation feit” with the album of all new mate- announcement, rial, the bands will tour “Brought to you by together. Flip/Interscope.” Enforcement Speaking of suc- chief Charles Kelley cessful artists that came of the FCC says that up through the Portland original music scene, how “such wording photo Buko might be insufficient be- about that Kenny G? Now of- cause it does not make clear that a cash Mel; Ernie Ball winners. ficially, the “largest selling instrumental artist” transaction was involved, as do phrases like “paid in the record business. His new album “Classics for” and “sponsored by”. lywood. “Every time I mention the Dan Reed Net- In The Key Of G”, on Arista, came on BB’s Top Since buying the Portland airplay, Limp work, when I’m pitching Brion, I get an imme- 200 at #23 w/bullet in the first week. (7/17) Bizkit’s first album climbed to #22 on BB’s Top diate positive response. Everybody knows that Two Louies downplays Mr. Gorlick’s humble 200 Albums, and the current follow-up “Signifi- band-from a production standpoint as well as the Rose City beginnings because the local hardcore cant Other” debuted at #1 in its first week on material. They were Influential.” hipoisie have threatened to torch the Two Louies Billboard’s Top 200 charts, July 10th. James just signed a “world wide” music pub- mansion if Kenny’s bag becomes known as the Payola works in the new Millennium... lishing deal with Warner Chappell Music. (can “Portland Sound”... you say front-money? ) But remember, cloudy-town drummer Then there’s success, the old fashioned way... Shortly thereafter, Brion opened his new Bruce Carter and local bassist Vail Johnson have Track record. home base, a state of the art Pro-Tools recording played in Mr. G’s band ever since. Brion James track record starts in Portland studio located on prime Sunset Blvd. real estate. as the standout lead guitarist for Dan Reed Net- How do you know when you’ve really made work. From DRN Brion split to Los Angeles Marlon McClain found the big time in L.A. it? where his writing and producing skills have gen- too... Weird Al Yankovic does a parody cover of erated gold and platinum records from En Vogue, Portland’s first uptown indie producer, your hit. Immature and Total. writer and guitarist had his first national hits with The Cherry Poppin Daddies will surely get Continued on page 29

TWO LOUIES, August 1999 - Page 17 Types of music released: alternative; all kinds. OREGON LABEL Submission format: cassette. Artist roster: Sweet Baby Onion, The Willies, Trip 21.

Continued from page 13 Tombstone Records P.O. Box 1463 Schizophonic Records Clackamas, OR 97015 U.S.A. 1620 SE Hawthorne Blvd. (503) 657-0929 Portland, Oregon 97214 Fax: (503) 631-2797 (503) 736-3261 Owners: Fred & Toody Cole Fax: (503) 736-3264 Producer: Fred Cole Email: Types of music released: [email protected] MONO ONLY!! Owner: Mike Jones Mostly original garage and Producers: Drew Canulette, psychedelic, raw rock ‘n roll. Tony Lash and Brian Berg. The Preferred submission formats: In celebration of one hundred years of advocating for band decides. Tapes mixed down to 1/4" reel musicians’ rights in this business that we call MUSIC, Types of music released: Many. to reel. DATcassette or high- the American Federation of Musicians, Local #99 and Preferred submission formats: quality cassette. AT&T have put together some of the greatest minds Cassette, DAT. Kind of deals usually offered: and organizations to present to YOU the most up-to- Kinds of deals usually offered: We press mostly 45s, but can the-minute information on Depends on artist/project/deal. do LPs and CDs. Artist roster: (current) Vehicle, Artist roster: Dead Moon, MUSIC AND THE INTERNET Jackson Pollack 5ive, Svelt, Flapjacks, Spider Babies, Jr. Dave Allen, The Elastic Purejoy, Samples, 8 Ft.Tender. What: A two-day intensive that deals with issues that affect The Violets, Torpedo, The Distribution: Get Hip, Cargo. a musician and sales of musical product on the Internet. Jimmies, Shove, Gravelpit, I-5 Midnight Records, Burnside Killers compilation series Distribution (CDıs only). When: Wed. September 29th & Thurs September30th features: Sprinkler, Dose, Where: Smith Ballroom Portland State University. Hazel, Spinanes, Saliva Tree, Undercover, Inc. Roger Nusic, Marble Orchard, P.O. Box 14561 Day 1 Topics Include: M99, Hitting Birth, Sugar Portland, OR 97293 Boom, Drunk at Abi’s, Flap- (503) 230-7728 *Intellectual Property and Copyrights jacks, Dead Moon, Diggs, Fax: 503-239-6558 *Performance Issues and Protections V.O.I.D., The Daddies, Killing Email: [email protected] *Are Big Labels Relevant in the Internet Era Field, Dharma Bums, Red Owners: JJ Gonson, S. Donald *Distribution, PR and Marketing on the Net Vines, Rawhead Rex, Wicked Gonson, David Christopher. Ones, Carl Hanni, Producers: varies. Day 2: Confidentials, Crackerbash, Types of music released: young, Blu-binos, Hellcows, Oily new, different bands. *In-depth, hands-on opportunities in the areas of net Bloodmen, Gift, K Pants, Preferred submission formats: technology with the leading tech. experts! Everclear, Thirty Ought Six, solicited 7", tapes, CD’s. Kaia, The Wipers, Plunger, Kind of deals usually offered: Cost: Free to Local #99 members! (make the best Oblivion Seekers, Anal Solvent, Standard Undercover, Inc. deal. investment of the year, join today!) New Bad Things, Caveman Artist roster: Project label Shoestore, Oswald 5-0, inclusive of Tiger Stripes Information on Local #99 and on the Music and the Supersuckers. The Violets, Forever, Crash Course for the Internet Seminar, contact us at 235-8791 or via e-mail Gravelpit, Skiploader, Time Ravers: A Tribute to the Songs at www.afm99.org Killing Isabel, Buttermilk. of David Bowie, Catpower, Distribution: N.A.I.L. Birddog 7". AFM, LOCAL #99 Distribution: Caroline, Cargo, Celebrating a Centennial of Advocacy in the Arts Ten Ton Records Parasol, and in house. 625 SW 10th Suite 231-C AFM, LOCAL #99 Portland, OR 97205 ready to work for today’s musicians. (503) 287-5502 (If we don’t do it, who else will?) Producer: Keld Bangsberg or bands choice. All proceeds benefit the Music Education Assistance Project LL

Page 18 - TWO LOUIES, August 1999 this mag, Jan had no idea as to the where- N.A.I.L. distribution. Most indicative of the growth abouts or well-being of Flying Heart main- at N.A.I.L. is that the offices for both Schizophonic stay, Chris Newman (Napalm Beach / and the distributor have expanded and relocated to Snobud & The Flower People) who left SE 16th & Hawthorne. Currently, they’re distributing Portland to avoid jail on drug charges for 7,000 titles and about 600 labels nationally and a early last year. Jan says Chris contacted him recently few international labels. Only about10% of those are Continued from page 6 and is living in San Francisco’s seediest section of the local. Quite a growth in 5 years, having started with Mission District, busking for commuters at the 16th 3 labels and 35 titles. The staff has increased from 1 Wicked Witch, and Richmond Fontaine, Pete Krebs & Mission BART station. He told Jan that Beatles to 11. Pink Martini’s Simpatique boasts N.A.I.L.’s larg- and King Black Acid from Cavity Search. Criminal songs bring in the most money. As Jan offered, “Rock est distribution. Mike shared some thoughts on why Records is preparing to release a full length CD by n’ Roll has a love affair with death. Looking at Chris’ and how N.A.I.L. decides whom they’ll distribute for and whom they won’t, (it comes down to numbers.) “We select our distribution by the demand in the mar- “Jan Celt at Flying Heart Records has been ketplace. For example, when Cool Nutz was putting trying to woo Janice Scroggins into releasing a his own stuff out on consignment in the local stores, it was selling phenomenally, so a few of the full length CD on his label. Jan is definitely storeowners told him he should contact N.A.I.L. He came to me with the proven demand and good gigs blues oriented, but raves about Janice’s abilities to back it up.” Basically, Jones says, “It’s not realistic to distribute for everyone. Only about10 or15% of as a gospel and jazz performer as well.” local bands really need distribution. Part of this pro- cess for labels is creating the demand. Look at the Claire Bruce, former longtime keyboardist for Paul pattern in music, the next logical conclusion seems amount of shows a band is doing, the buzz about the de Lay. Claire is recording at Dead Aunt Thelma’s. to be death, yet he’s still alive…” Well, amazing come- record, are they touring? If a band is having a hard Jan Celt at Flying Heart Records has been trying to backs have been known to happen. Let’s hope Chris time keeping up with the demand on consignments, woo Janice Scroggins into releasing a full length CD Newman can turn things around. Lucky Records’ then N.A.I.L. will be ready to talk to them.” By the on his label. Jan is definitely blues oriented, but raves have added J.Mack ‘n Hakim to their roster, as well as way, you won’t be seeing N.A.I.L. hosting a booth at about Janice’s abilities as a gospel and jazz performer distributing Patrick Lamb’s newest CD. Lamb will this year’s NXNW. The distributor is opting to throw as well. “She is extremely deep in her understanding of music, and I believe she’s gone farther and done more with music than anyone else in town.” Flying “We select our distribution by the demand in the Heart’s ‘98 Portland blues compilation, A Taste of the Blue Rose, was “systematically snubbed” by local re- marketplace. For example, when Cool Nutz was putting viewers and critics, according to Jan, which he says, his own stuff out on consignment in the local stores, it does a huge disservice to the long history of blues talent in Portland. It is however, still one of Flying was selling phenomenally, so a few of the storeowners Heart’s better producers as far as sales. Jan is also pleased with Flying Heart’s new distribution deal with told him he should contact N.A.I.L. He came to me with Burnside. Previously distributed through City Hall, Jan dropped the mega-distributor because “they had the proven demand and good gigs to back it up.” the most don’t-give-a-fuck attitude about my cata- logue. I’ve been with Burnside for 4 or 5 months now be recording another CD early next year, according a by-invitation-only party instead, which will occur and they are really responsive as well as being nice to Mr. Lucky, David Leiken. Otherwise, everything on the Saturday night of NXNW. Shameless self-pro- people.” Flying Heart is also receiving royalties from is “business as usual,” David states. “The label is plug- moter, Ray Woods at Rainforest Records sent an e- Virgin Records for a Charlie Musselwhite cover of ging away and Mac Man (Marlon McClain) is always mail to me recently and here are some of the high- Tom McFarland’s “Voodoo Garden,” which first ap- busy.” I finally NAILed down Mike Jones at lights: “…SILKENSEED is coming back strong with peared on Flying Heart. On a different note, you Schizophonic recently, only to find out that the label a new lead singer. Expect to see them live again soon might remember in last month’s Rewind feature of was “on hiatus” because he’s been so busy with Continued on page 23

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TWO LOUIES, August 1999 - Page 19 able comprised of mysterious verses and a memo- energetic power trio derives it’s heritage more from rable chorus. It’s a bluesy voodoo spell that fires “Gas Pop bands such as the Ramones and Husker Dü than Stove.” Over Doucet’s snaky guitar riffs, Tami creates from Black Flag. Except for the non-pareil title track, a hot and bothered prairie mood akin to those pur- these are songs about love and life, friends and fam- veyed by Cowboy Junkies or Paula Cole— bubbling ily— with the occasional sci-fi potboiler thrown in Continued from page 7 over with a smoldering libido. for drama. The centerpiece of the set is the viscerally Their musical format is dedicatedly of the two- t greer— Tami Greer wrenching “Down Deep,” an open wound of a song, step goosestep variety; but the civility of their subject Burnside Distribution that recounts in chilling detail the events surround- matter and the band’s wholesome attitude towards It’s been a long, circuitous career for Ms. Greer, ing long term physical abuse and the mounting sense it, would lead one to determine that, despite their al- transplanted within the past year from Vancouver, BC. of fear, dread and desperation that inhabits such a lusions to Satan in the liner notes: 800 Octane sound very much like a Christian Punk band. And a pretty good one at that. “Tami Greer confirms that she has come to Portland The obvious comparisons are to Bad Religion with a hard-won pedigree and an album that deserves or a way speeded-up Green Day. But 800 Octane aren’t even snotty about what they do, despite their relent- far more attention and support than it has thus far less pursuit of a Punk sound: agitated, distorted gui- tars, bludgeoning bass and rapid-fire drumming. In- received from the local community of critics.” sistent to say the least. But in reality the band does a disservice to some very catchy songs, whose full power After picking up the guitar at the relatively late age of world. Doucet’s solitary acoustic guitar is joined by could be better demonstrated with some variety in 24, as a means to cope with her mother’s death from Vidrich’s slapping brushes on snare drum, as Tami their arrangements. cancer, Tami has spent the past fifteen years honing delicately delineates a harrowing fable of thinly veiled Still, there is a lot of tuneful music here, deliv- her musical and literary chops— culminating with menace and barely repressed violence. Violinist J. ered with all the subtlety of a machine gun rampage. an appearance last Summer in the Vancouver stop of Zubot trades ethereal sonic embroideries with The album kicks off with the title track, a savage on- Lilith Fair. What in the world would possess a woman Kershaw’s “Strawberry Fields” (occasionally back- slaught, with lyric overtones of zombies and nearing 40, the single-mother of a teenage daughter, wards) melotron interludes through the second verse, mayhemic blood lust. Ooooo scary kids! Soon enough to come to Portland to seek fame and fortune in, of abetted by Doucet’s hard smacking electric guitar in the boys desert that motif for the more comfortable all things, the music business? Well a lot of talent, for the shudderingly incoherent chorus. An horrific gem. surroundings of “Condescend” which could easily be starters. “Lucky” moves closer to Vega territory, a tightly- by (or about) Ric Ocasek of the Cars— except that These are tunefully intelligent songs in the Vega/ woven character study of one of the denizens of the the song is traveling in metronomic hyperspace. Crow/Colvin vein, exquisitely crafted by an artisan murky periphery, who linger at the very edges of per- The members of the band, have chosen anonym- songwriter; expertly rendered by a superb line-up of ception— álà “Luka.” The smart snap of “The Ballet” ity (perhaps they are wanted by the law or owe on a BC sidemen, coupled with Greer’s fine vocal deliv- utilizes Reggae upstroke guitar in the verses, dissolv- big phone bill), other than lyricist Dave, who steps ery: which combines Crow’s sassy sauciness with the ing into a dizzying dither in the bridges; while Greer out from the shadows to take responsibility for his wry deadpan of Vega and the homespun sweetness explores the exploitation inherent in the industry of actions. One would guess that Dave is the singer of of Colvin. Classical Ballet. “Perfect Fingers,” the simplest song these words, and quite possibly the guitarist as well. Credit guitarist Luke Doucet with passionately of the bunch, is a return to Greer’s Country roots. That would leave the bassist and drummer as remain- original contributions on nearly every number, in- Tami Greer confirms that she has come to Port- ing entirely nameless, which, in the case of journalis- fusing each with a signature style and texture. Doucet land with a hard-won pedigree and an album that tic extrapolation, is limiting. The songs, however, do and keyboardist David Kershaw have worked in the deserves far more attention and support than it has have names. studio with Sarah McLachlan and they, as well as the thus far received from the local community of crit- “Radio” is a sprightly number, with well defined other members of the supporting cast, lend a vibrant sheen to all of the songs. Doucet outlines the parameters of “Full Moon “The State Flowers, wisely enlisted the services of the best Over Prague” with jagged, vibrato-laden strata of producer/engineer/multi-instrumentalist in town: Tony guitar, overlaid upon the fulsome foundation of bass- ist D. Lee and drummer V. Ditrich. Greer enters at Lash. Without tampering in the least with the band’s the verse with a smoky sultriness Crow has mastered: busting into a lively chorus reminiscent of Holly idiosyncratically schizophrenic nature, Lash expertly Vincent from the New Wave days. “Captain love” ben- susses the right sound and texture for each song, with a efits from some subtle interplay between Doucet and Lee and Greer’s biting lyrics. “Blast off Captain Love/ sense of reverence and creativity that is truly world-class.” Pulsar keeps steady time/Another dead star/Cast off Captain Love/Robbed of glorious shine/ You’ve learnt ics. For, here is a songwriter of finely attuned skills verses and choruses, crammed into a minute and to eat your young.” and a singer of strong and subtle abilities, working twenty seconds. Both it, and the succeeding number “I Got A Buzz” treads nearer to the poignancy with a sterling crew of musicians, dedicated to pro- “Still The Same,” echo some of the driving melodicism of Colvin, with a sordid tale of drugs and disillusion viding her with the finest palette from which to con- of Billy Rancher and the Unreal Gods in their early in the City of Angels. Colvin comes to mind again on struct her musical visions. She deserves more than years, with more of a Punk attitude, of course. “Pimp the beautiful “Stick Horse.” Acoustic guitars and hand our mere attention. She deserves our respect and ad- Ray” is a sci-fi send-up that seems to fuse “The Day percussion, augmented by Kershaw’s gorgeous miration for her achievement. The Earth Stood Still” with “Superfly.” Very strange Hammond accompaniment, achieve simple elegance The Kelvis— 800 Octane indeed. behind the wistful, winsome tale that Tami tells. We Got Records The singer, evidently our friend Dave, has a dis- Colin Cripp’s well-placed melodica and slide Don’t let this album’s ghoulish cover art or tinctive vocal style, that calls to mind Danny Elfman’s guitar fills add verve to “UFO,” as Greer weaves a par- punkish musical stance fool you for a second. This early stints with Oingo Boingo, nicely illustrated on

Page 20 - TWO LOUIES, August 1999 “Shaken” a tune where the band breaks into a sort of The Bluegrass breakdown “Dear Old Dixie” af- of the Celtic-colored “Over The Waterfall/Rachel- St. accelerated surf beat, while displaying an actual pro- fords the guys the opportunity to step up for a series Anne’s Reel” is irrepressible as Klauder and pensity for a comparative sense of dynamics. Bravo of solos, showcasing their talents; serving as a musi- Glickenhaus unite for another rousing grapple be- lads! “The Amazing Criswell” has some interesting cal introduction to the band. Glickenhaus stands out tween mandolin and fiddle. historical information that seems formulated from with sterling banjo licks. Glickenhaus emulates Mekel’s bluesy “Parallel Blue” serves as a stylis- the collective unconsciousness of the Ed Wood Fan Grapelli on fiddle while Klauder interprets on man- tic fulcrum between the fiddle dominated front end Club. dolin Reinhardt’s characteristic style on the gypsy of the album and the more divergent aspects of the “Alien” succeeds where “Criswell” fails with some swing of “Minor Chord.” The mournful Monroe tune, back half. Glickenhaus, playing guitar on this excur- exciting ensemble work, charging hard across a mol- “Misty Moonlight Waltz” breaks into a dapper stride sion exchanges tasty solos with Klauder’s mandolin. ten musical landscape. “On My Side” is a hit song, in the turnarounds as Klauder and Glickenhaus har- Klauder’s dizzy “E. M. Dryer” cascades like raindrops with strong hooks abounding, as scorching guitars monize with Glickenhaus’ banjo falling in tandem with the clear a wide path for the artillery of the rhythm sec- mandolin. Glickenhaus’ title track, a pretty banjo tune tion. “Brand New Faces,” themati- photo Buko interjects a strange Drifters-ish cally closely aligned with R&B structure into the mix. John Lennon’s “In Acoustic folk fans My Life,” changes will find a full plate of meaty directions with a chops and salty licks with a heap- tom-driven jungle ing helping Everyday Dirt beat intro and a at their musical ban- memorable chorus. quet table. The boys Coming in find inventive ways to with thirteen combine their vari- songs in just over ous instruments, a half an hour, taking a detour 800 Octane do whenever the scenery not waste time starts looking too famil- or effort on the iar, yet all the while superfluous. They maintaining the direct get to the point and lineage of their mentor get off, usually in about heroes. A real fine album. two and a half min- Man In A Glass— Pipe utes. While this Dreams would seem to Dreamworx Music correspond The initial faint promise of the with their cur- layered-synth ambient instrumental “A rent musical pretensions, the ven- Nightmare” soon gives way to overblown geance of their presentation does Metalized guitar machinations of the three not always seem befitting of the pos- songs that follow. Pipe Dreams, the duo of bassist sibilities their songs exhibit. Given more Rick Dudley and songwriter/drummer/keyboardist/ variety in the arrangements of these well-written 800 Octane; subtle as a machine gun. guitarist/vocalist Bryce Van Patten, tread within an songs, with a more loving understanding of what anachronistically dark musical labyrinth, affecting they are meant to say, this band could reach a much with mandolin and banjo. the operatic sturm und drang grandiosity of long- wider segment of the listening public, and achieve the Maintaining a Western feel, Glickenhaus’ fiddle departed Gods such as Uriah Heap or really early potential they consistently display here. tune “Mar Pacifico” kicks up a little dust of it’s own, Black Sabbath. Instrumental— Everyday Dirt evoking the scents of sage and creosote. Glickenhaus All three songs: the barracuda title track, the Siren Music wisely steers his fiddle through a soulful solo before similar “Climb The Ladder” and the similar “Dog Members of Calobo, Caleb Klauder on mando- lin and Nate Query on upright bass, join forces with fiddle/banjo/guitar man Alan Glickenhaus, of Higher “Coming in with thirteen songs in just over a half Ground and Blue Honey, and guitarist Al Mekel for a an hour, 800 Octane do not waste time or effort jaunty set of Bluegrass and Oldtime Swing tunes— divided equally between original pieces, and cover on the superfluous. They get to the point and get material comprised of traditional nuggets as well as renditions of standards from the likes of George off, usually in about two and a half minutes.” Gershwin, Bill Monroe and Django Reinhardt and Stephane Grapelli. Varied fare to be sure, but delight- launching into the familiar strain’s of Gershwin’s Turds” elicit a certain White Zombie edge to the pro- fully rendered by this versatile quartet of craftsmen, “Summertime.” Mekel and Query (which sounds like ceedings, but lack an apparent sense of humor, so el- captured from these well-recorded live performances. a law reference of some sort) lend this version a de- emental in Rob Zombie’s personae. The musician- The album’s title is the theme here, as the group cided Van Morrison, “Moondance” feel, pushing the ship here is not the problem. Van Patten is a solid navigate expertly through the sixteen tracks, as might changes a little harder than most versions. Klauder drummer and a pretty fair guitarist, if only adequate be expected of these seasoned veterans. Each cut con- counters with a chiming solo of his own near the end. as a Metalgawd vocalist. Dudley is a journeyman foil. tains joyous moments of spectacular interplay be- Klauder and Glickenhaus duel in a precise duet The problem lies in the fact that all this sort of tween the various members, utilizing a wide array of of mandolin and fiddle on the exhilarating Django stuff has been bludgeon to death over the decades. instrumental textures to create unique aural settings gem “Swing 42,” dancing sweetly across the basic riff, And unless you have an interesting new use for an for each piece. while trading exemplary solos. The band’s treatment Continued on page 22

TWO LOUIES, August 1999 - Page 21 Flowers about a year and a half ago when they were mony or even unison vocals between the two, but known as Scenic Overdrive. But that’s about all that ne’er the twain are met. has changed for this talented quartet. Singer/ Because of this, the album has the quality of songwriter/guitarists Corinna Repp and Pete Ficht being two EPs recorded by two separate solo perform- (Noisecandy, Joy Pop Turbo) are still complimented ers with the same producer and the same backup Continued from page 21 by the rhythm section of drummer Martin Thiel and band. Both of the artists have real talent. Each has a bassist David Yeager— both graduates of the band bona fide hit among the ten songs offered here. Each expired equine— you might dress it up as an exotic Rexaco. performs a song essentially by themselves. It is almost lawn ornament or try to make a ride out of it for the Here, the band has wisely enlisted the services as if one is the perfect mirror of the other recording. kids: but either way, you’re pretty much stuck with a of the best producer/engineer/multi-instrumentalist Repp leads off the set with “Wait,” a sentiment dead horse. And what’s the sense of beating it with a in town: Tony Lash. Without tampering in the least she expresses at other points along the way. Here, over screaming, heavily amplified guitar? with the band’s idiosyncratically schizophrenic na- a bed of writhing guitars, Corinna murmurs a sinu- Van Patten demonstrates the raw skills on gui- ture, Lash expertly susses the right sound and texture ous plaint, calling to mind the voices of Beth Orton and Sinead Lohan. Ficht follows with the jangly “Once In A While.” Over chiming electric and acoustic gui- “Pipe Dreams tread within an anachronistically dark tars, his bouyantly boyish voice hovers, exhibiting a musical labyrinth, affecting the operatic sturm und Pop sensibility that would seem equal parts Matthew Sweet and Elliott Smith. drang grandiosity of long-departed Gods such as Corinna sings the title track, which she co-wrote with Ficht. A driving, non-sequitur intro gives way Uriah Heap or really early Black Sabbath.” to more restrained verses that resolve in a hook line that seems a little understated, given the bombast of tar, drums and keyboards necessary to fashion some- for each song, with a sense of reverence and creativ- the arrangement. The cool instrumental intro returns, thing different from this creature; a silk purse per- ity that is truly world-class. leading one to wish the pair would have tried harder haps. But such a transformation would require a reso- And his work here is impeccable, as usual. He to have built a song around that segment— before lute commitment on his part to seek some singular helps to meld the somewhat disparate styles of Ficht resolving in a fragile bridge that features a rare mo- spark of invention, in order to transmute into a golden and Repp, who have, inexplicably, each elected not to ment of vocal interaction between Repp and Ficht. A statue that poor dead horse. sing on the other’s songs. This is all the more puz- strangely disjointed song, seemingly comprised of Third Of July— The State Flowers zling given that each is possessed of a pleasant voice fragments, barely held together by the faintest of the- Smart Guy Records that falls in a similar range and timbre. One would matic threads. We last met up with the members of The State expect that there might be some inclination for har- Continued on page 28

Page 22 - TWO LOUIES, August 1999 club that made a big impact on the Portland put out. He started Hablador so that he could put scene in the early 90s). Many local musi- out what HE wanted. In Ian’s words, “It’s a cool but cians and people who used to hang out difficult time in the music industry right now. People there are being interviewed, including are looking at major labels and seeing that they are RRay and members of The Gone Orches- not about music right now. I’m doing it to put out tra….” -RRay. I’m curious to know how those hot music, my own music.” Definitely an expression ech- Continued from page 19 Brainwashers are selling in Austin and San Antone, oed by Portland Indies. When asked if he had inten- who the “Majors” are that are interested in Silkenseed, tions to bring other artists onto his label, he said, with new songs and even stronger stage presence. and who is the band’s new singer? “Eventually, I’d like to add other artists, but right now They still have great interest at major labels, so any- Space Age Bachelor Pad Records in Eugene is my own projects need to be successful if the label is thing could happen…. THE BRAINWASHERS were doing well for itself, considering the success of The to do well in the future.” Hablador is following up its voted having the top instrumental song of the year Cherry Poppin’ Daddies frontman/label owner, first release, Ian Moore’s Got Green Grass, with an by a radio station (KSYM) and magazine in Texas Stephen Perry’s rise to near stardom and bankability. untitled release scheduled later in the year. About (Rooted, also online). The band is currently hot in The label has hired on Spirit Cole as their friendly Portland, Ian had this to say, “Portland has a real fresh Austin and San Antonio. I guess in that area, the geo- and down-to-earth spokesperson and label manager. scene. Lots of different music. I think it has integrity graphic heart of rootsy rock n roll, they know Real Spirit championed The Daddies to me, saying, and it’s sophisticated but without being big on atti- McCoy surf when they hear it! .OBSCURED BY “They’re doing really well now. They’ve worked re- tude. People tell me it’s clique-ish but I’ve seen a lot CLOUDS is back together, with original members Bill ally hard and now it’s paying off for them.” The band of intersections in the music scene there. It’s the hot- Weikart on guitar and lead vocals, and Rainman RRay is working on its next release, Soul Cadillac which will test place, musically, in the whole country right now.” on keyboards. O.ByClouds has released their first CD, be co-released by Mojo Records and Space Age Bach- Which leads me into my thoughts about the titled Bleed on Rainforest Records…This also marks elor Pad. They’re recording with Bill Barnett at Gung 1999 NXNW festival. When the festival first came to the 30th release by the label, which is beginning to Ho Studios in Eugene, where they’ve recorded every town five years ago, I remember everyone was excited thrive despite the shakeup of the entire music indus- album they’ve put out. Space Age still handles the about it because it put Portland on the music map, try and financial difficulties… By the way, Rainforest entire Daddies catalogue. Spirit told me the band will and offered hope to a large number of local acts want- Records might be the longest running local (Oregon) be out on a World Tour in late fall. When I heard ing to stretch their wings. Then came the disgruntled label that is still active (considering the end of T/K that songwriter and former Joe Ely guitarist, Ian critics who said it was taking away from Portland and the inactivity of other credible ones like Flying Moore, had started a new label, Hablador Records, I bands and trying to capture some of Portland’s own Heart). RR was established in 1990 and plans to have wanted to talk to him. I had to go through his Man- magic and call it NXNW’s. Now in line this year are a big 10 year celebration in the year 2000. Says RRay: “... If we get that far! RRay also continues to play with THE GONE ORCHESTRA, who are playing lots of “The Cherry Poppin’ Daddies is working on its next gigs this summer and recording a new album at release, Soul Cadillac which will be co-released by Mojo Smegma Studio. New material will come out on Rainforest Records…which is moving offices to an- Records and Space Age Bachelor Pad. They’re recording other location in SE Portland (and will continue online regardless). with Bill Barnett at Gung Ho Studios in Eugene, where IAN MOORE, the awesome former Austinite they’ve recorded every other album they’ve put out.” who moved to Seattle and often plays around Port- land now, had his first recording session years ago ager in Austin to get him to call me from Seattle the venues and other industry people who are out with Rainforest Records. He was gracious enough to (Vachon Island to be specific) where he lives. All the and out ignoring it, going as far as to plan gigs and add his guitar talents to the W.O.R.M. album, the first time thinking he was in Portland because he plays events around it, concurrently. For the sake of argu- CD produced by RRay Woods. Later, Ian released here quite often. If I had known otherwise, I wouldn’t ment, I think NxNW does bring notoriety to our two albums for a major label, but now has gone solo have bothered with the long-distance phone tag. Still, music scene. Last year, I personally met many people with his own new indie label. Experimental noise per- I was curious and, besides, I wanted to find out what attending the shows and conference that said they formance art band AnatHEMA has a recent release Davey Grissom was up to these days. When asked thought Portland’s music scene was kick ass. Not on Rainforest Records (Kill Your Higher Power) and about his new label, Ian told the story of when he NXNW’s scene, mind you, but PORTLAND’s scene. is going to play the Dada Ball... There is a documen- was signed to Capricorn and how he felt “less and I even imagine some of these people have stayed in tary film being shot about the X-Ray Cafe (all ages less control” over the material he liked and wanted to Continued on page 27

TWO LOUIES, August 1999 - Page 23 Sunday, August 1st Satyricon: John Auer Band (Former Po- Buffalo Gap: Jackstraw sies)/Lolly/Nevada Bachelors Tillicum: Steve Bradley Band Monday, August 2nd Tonic Lounge: 44 Long/Shuggie Berbati’s Pan: Carlton Jackson & Dave White Eagle: Warren Pash Band Mills Big Band (Every Monday in August) 1201 Lounge: Imogene White Eagle: Jon Koonce (every Monday) Saturday, August 21st Tuesday, August 3rd Ash Street Saloon: Nymph 9 Jimmy Maks: The Mel Brown Sextet Country Inn: Jim Mesi Tillicum: Norman Sylvester (Every Tues- E.J’s: Goddamn Gentlemen/Heavy day) AUGUST PICKS Johnson Trio/Full Bores Gemini Pub: Jesus Presley Sunday, August 4th Satyricon: The Viles/Lady Speed LaurelThirst: Adam & Kris Tillicum: Steve Bradley Band Rabbit Hole/Mad Hatter Lounge: Pete Krebs Tonic Lounge: American Girls/The Kirby Gripps White Eagle: Baseboard Heaters Thursday, August 5th 1201 Lounge: Mike Johnson/Pete Krebs Arnada Cafe: A Lesser God/Mobius Ash Street Saloon: Mossback/Loligo/ Sunday, August 22nd Raised By Yaks Buffalo Gap: Lisa Miller White Eagle: Tammy Greer/Warren Pash RoseGarden Arena: Barenaked Ladies/Semisonic Band Tuesday, August 24th Friday, August 6th Berbati’s Pan: Vibrasonics Arnada Cafe: Tripleswift/Gasoline Kings Candlelight Room: Ter r y Robb Thursday, August 26th E.J’s: Surf Trio/The 45’s/Dirty Lowdowns Aladdin Theater: Los Lobos Mt. Tabor Acoustic Room: Drew LaurelThirst: Plumb Bob Norman & Christina Frederica Lava de Mure @ the Mt Tabor Pub Berbati’s Pan: Supersuckers/Otherstarpeople Satyricon: Junk Records Showcase: The Dragons/The Satyricon: Generator/Karling Abbeygate & Monks Candlelight Room: Monti Amundson Spitfires/RC5/The Weaklings/The New Wave Hookers Thursday, August 12th of Love/ Love Nancy Sugar/The Brainwashers Mt. Tabor Pub: John Thayer/Big Time Pop Country Inn: Vibrasonics Tonic Lounge: Mel & Special Guests Oregon Zoo: Marc Cohn/Vonda Shepard Friday, August 27th E.J’s: The Screws/Fireballs of Freedom/SilverKings Roseland Theater: POH HOP 5: Cool Berbati’s Pan: Ray Condo & His Rico- Jazz de Opus: Patrick Lamb Duo Saturday, August 7th Nutz/G-Ism/DBA/Hungry Mob/Proz & chets/Rod Kings/Smith Ranch Boys Oregon Zoo: Jim Pepper Tribute: Dewey Ash Street Saloon: Fourth Plain Jaiant/ Conz/Ol’Dominion/Mackin Rob/Brotha Luv Buffalo Gap: Buds of May Redman/Amina Meyers/Bob Moses/Joel Point 5 Past/Pale Green Pants St. John’s Pub: Cajun Dance Party w/Mamou Candlelight Room: Bill Rhoades & The Party Kings Harrison/Kai Eckhardt/Karen Knight Pepper Candlelight Room: Ter r y Robb Tonic Lounge: Nine Volt Mile/Dead Letters Gemini Pub: Terry Robb Band Rabbit Hole/Mad Hatter Lounge: Chris- E.J’s: Sunset Valley/Lolly/The Hang Ups Jimmy Maks: Ben Fowler Band tine Darling & Guests Hollywood Theater: Pamela Jordan/ Wednesday, August 18th LaurelThirst: Jim Boyer Tillicum: Lloyd Jones Calvin Walker & Gaia Brant Trio/ Shoe- Berbati’s Pan: John Doe/Frank Black/ Mt. Tabor Theater: Hanuman/Omar 1201 Lounge: Victoria Corrigan horn & Others Sean Croghan Torrez/Lava de Mure Jazz de Opus: Pam Munter w/Gordon E.J’s: The Strike/God Hates Computers Satyricon: Monkey Fur/No Mas/Killjoy/9 Volt Mile Friday, August 13th Lee, Andre St. James & Keith Werner LaurelThirst: Petty Cash Snake & Weasel: Lisa Miller & Trailer Park Honey’s Arnada Cafe: 4th Plain Jaiant/Vivid Jimmy Maks: Thara Memory’s Super Band Tonic Lounge: Pedro Luz/Camaro Hair/Tripleswift Berbati’s Pan: POH HOP 5: Karimi/ Mr. LaurelThirst: Pete Krebs Thursday, August 19th D.O.G./No1Else/GOTM/ManiacLoc/ Mt. Tabor Theater: Nicole Campbell/ Arnada Cafe: Lava de Mure Saturday, August 28th Izaya/Libretto/Brown Hornet Stephanie Schneiderman/Brenda Dickey Bar of The Gods: Love Nancy Sugar Candlelight Room: Bill Rhoades & The Party Kings Buffalo Gap: Trick Ponies Mt. Tabor Acoustic Room: Kimberli Ran- E.J’s: Faith & Disease/Summerland Gemini Pub: Soul Vaccination Candlelight Room: Monti Amundson som/Mel Kubick/Anne Weiss/AlisaWolfe Jazz de Opus: David Friesen Trio w/ Mt. Tabor Acoustic Room: Lael Alder- E.J’s: Village Idiot/Roadsaw/Fuckpriest Fantastic Satyricon: King Black Acid/Starseed Randy Porter & Alan Jones man/Ezra Holbrook/Aaron Masonek Gemini Pub: Jim Mesi Band Transmisison/State Flowers/RickBain/ Roseland Theater: Mr. Bungle St. John’s Pub: Baby Gramps LaurelThirst: Bingo Genius Position St. John’s Pub: “Dames in the Dome”: Anne White Eagle: Big Time Pop Roseland Theater: G Love & Special White Eagle: Jon Koonce & The Gas Hogs Weiss/Little Sue/Mel Kubik/Jess Klein-Boston Sauce/Dangerman 1201 Lounge: Consolidated 1201 Lounge: State Flowers/Charlie Bradshaw Sunday, August 29th Satyricon: Buffalo Gap: Dave Carter & Tracy St. John’s Pub: Laurie Lewis/Tom Rozum Wednesday, August 11th Friday, August 20th Grammer w/special guest Ann Hills LaurelThirst: Kaitlyn ni Donovan/Amy Annelle Country Inn: Jim Mesi Satyricon: Giant Bug Village/Lone Wolf Tonic Lounge: Jive Talkin Robots/Zuba Satyricon: The Country Teasers/The E.J’s: Reload/Alien Crime Syndicate/ Compulsive Gamblers/Coco Cobra & Knodel Monday, August 30th Saturday, August 14th The Killers/The Prime Evils Jimmy Maks: Jive Talkin’ Robots E.J’s: Skinlab/Pissing Razors/36 Crazy Ash Street Saloon: Radio Flyers/Flatland/Losers 1201 Lounge: Platinum Rodeo Oregon Zoo: Benefit for PACUP: Patrick Lamb Band Fists/Pain Mechanism

Page 24 - TWO LOUIES, August 1999 WEDNESDAY 10:30-MID. 92.7 FM Columbia Gorge 100.7 FM Corvallis/Albany artist/label/title LAST MONTH THIS MONTH 2 1 IMOGENE Imogene CD ...... Underdub 32 PETE KREBS & THE GOSSAMER WINGS Cavity Search CDSweet on a Rose 2 2 VARIOUS Kill Rock StarsCD ...... Drinking from Puddles 6 3 THE SENSUALISTS The Sensualists CD ...... The Sensualists 4 3 44 LONG Sideburn CD ...... Inside the Horse’s Head 10 4 WATSONVILLE PATIO Tequemo Records CD ...... Hotel Roselynn 5 4 THE WEBBERS The Webbers CD ...... Oldest Whiskey In Town 8 5 WARTIME CHOCOLATE Demo CD ..... Headdressed and Merging 2 5 4 HR. RAMONA Yeah, It’s Rock CD ...... Pharmacy Park 8 6 PAUL BRASCHBurnside CD ...... Find My Way 9 6 LAEL ALDERMAN Demo CD ...... Lael Alderman • 7 JOHN SHIPE Involushuns CD ...... Sudden and Merciless Joy 9 7 MONKEY TO THE MONSTER DemoCD ...... Monkey to the Monster 10 8 PACIFIC WONDERLANDDemoCD ...... Pacific Wonderland • 8 BURGUNDY Demo CD ...... Burgundy 11 9 BIG TIME POP Demo CD ...... Big Time Pop 11 9 THE HEAVY BROTHERS Big Sweaty CD ...... Got it Covered 1210 VELVIDA UNDERGROUND Demo CD ...... 2 From Rocket Songs • 10 BLYSS DemoCD ...... Realsimplefeelgood 1111 IAN MOORE Hablador Records CD ...... Got the Green Grass 4811 SE Hawthorne 238-1646 • 11 EVERYDAY DIRT Padre CD ...... Instrumental AUGUST 1999 • 12 BELL Yeah, It’s Rock 45 ...... Viral Love/ Unshockable THEATER ACOUSTICR OOM Demo 45 ...... Rockabilly Dream/ Spiderbite • 12 THE TAILFINS Friday August 6th Friday August 6th • 13 LEW JONES Maniker CD ...... Hemet III Scott Huckabay Drew Norman & Steve Smith Christina Frederica 13 13 SLAPHOG Vio CD ...... A rock Slopera Saturday August 7th Saturday August 7th top tracks Nicole Campbell Alisa Wolfe Stephanie Schneiderman Anne Weiss Imogene CD ...... Bruised Brenda Dickey Kimberli Ransom 2 1 IMOGENE Mel Kubik 44 PETE KREBS & THE GOSSAMER WINGS Cavity Search CDSweet on a Rose Friday August 13th Smooch Knob Friday August 13th • 3 THE SENSUALISTS The Sensualists CD ...... The Sensualists 2 Block Wheelie The Noyz Sideburn CD ...... Inside the Horse’s Head Honey Rider Delusions of • 4 44 LONG OSO Inadequacy • 5 WATSONVILLE PATIO Tequemo Records CD ...... Hotel Roselynn Saturday August 14th Saturday August 14th John Thayer Peter Bach & Friends Big Time Pop Friday August 20th live offerings at the church Friday August 20th Alan Charing Toyes Saturday August 21st Friday August 21st Mac Swanky & Guests Big Time Rosie Greater Than 5 Friday August 27th Wednesday, August 4th ------Guest Host Point 5 Past Thin Drawn Line Tim Lincoln & Friends Wednesday, August 11th ------Guest Host Friday August 27th Hanuman Saturday August 28th Wednesday, August 18th ------Marc returns Omar Torrez Lael Alderman Lava de Mure Ezra Holbrook Aaron Masonek Saturday August 28th Ashbury Park Say Uncle

TWO LOUIES, August 1999 - Page 25 can king. Inevitably, like Satan with a steel drum, he’ll NXNW party/gig/jam session of the fall season. FriscoDisco slip in through the cracks. Like all things truly evil it “Full speed ahead on THE MUTANTS C.D.” says requires diligence keeping him at bay, he comes creep- WHITE NOISE record’s Keith Bollinger, having com- Continued from page 8 ing back again and again like some puny no-talent pleted the paperwork for a subsequent ROZZ & NEGA- when we ran into ELI JOHNSON of HEAVY JOHNSON Godzilla stoner hack. TIVE TREND release with me this past week. I’ve been TRIO who had knocked em out the night before (with This month’s column began on a 1948 royal type- flabbergasted by the positive press I’ve received for a 20 BOZART and the KUNG FU”S) at SATYRICON. DE- writer on the road and now my road trips over for 48 year old cassette demo… indulge me a moment, this LINQUENTS drummer MARNIE kept the stiffy’s com- hours and I’m putting it together on a Power Mac at the has nothing to do with that other thing I’m notorious ing as we got obliterated and traded unrepeatable tales TWO LOUIES hideout. The summers heating up. I love for, I don’t know the reviewer, it’s a coffee table book/ until interrupted by some chick who introduced herself that ozone hole. If it’s really a problem, get a rocket and magazine called THE BIG TAKEOVER #44/ JACKS TOP as an EROTIC ENTERTAINER, yeah well “I’m a LIFE- some saran wrap and fix it. “THE SEXIEST MAN ALIVE 40, ROZZ & NEGATIVE TREND #10 (Oasis was #21, LIKE HUMAN DILDO baby”, and “DAN REED IS MY “ is now “THE SEXIEST DEAD KENNEDY MOST ha-ha) and it says BITCH” Randy repeated again” and he’s gonna kill me LIKELY TO HAVE HIS D.N.A. TURN UP IN THE LOB- “So unhealthily fresh it still sounds manic, com- if he hears about this”. I know, I said, ‘after my column is STER BISQUE AT POPULAR MARTHA’S VINEYARD mitted, and sopping with excitement after 9000 lesser out I’ll probably never play THE OHM either. RESTAURANTS” you know I’m running out of patience punk records. The “POP SESSIONS” instantly becomes THE BLACK HOLE OF KARMA DEPT; Months for celebrities dummer than rockstars…PRINCESS the third best lp document of this incredible scene… ago I gave a slight mention of a mutual friend of Buck DIANA. Hey honey, quit worrying about homeless waifs who knew such torrid studio recordings existed? This Munger’s, and neighbor of mine who I have had lim- and landmines, and BUCKLE YOUR FUCKIN ripping vicious wild attack with original psychotic- ited musical dealings, enough to know this guy is CA- SEATBELT!!! Hey J.F.K. buddy, driving a plane in dark sounding singer ROZZ REZABEK-WRIGHT. With 9 REER SUICIDE. A gig secured thru a fan named JULIE and foggy conditions, it’s not the same as driving home songs in 19 minutes, nothing is wasted. The second the who got us in to this 4th of July rock festival in on the backroads after a few too many beers. Your 5,000 laser drops, this rips, slams, creams, and smacks with RIDGEFIELD WASHINGTON. This guy first was all feet off the fuckin ground SHARKBAIT, SUPERMAN the sort of anarchic abandon rarely beheld since. knowing “you” LL never get paid by these guys at this IS THE GUY IN THE BLUE SUIT WITH THE GAY REZABEK-WRIGHT compliments his band mates with party”, then causing divisions in the band” I think this is CAPE. WHAT ARE YOU ON? an intelligent but unmistakable defiance. If the rest of a good chance to establish yourself without JIMI I DON’T LIKE MOVIES. I DON’T GO TO MOV- the world and the established rock scene was slipping HASKETT” to being AL (I’m in charge here) HAIG go- IES. MOST MOVIES SUCK. Especially “summer into morbid inertia and flatulence, these guys came off ing up to get our money after the band played and tell- blockbusters”…meanwhile a housefly has done a dra- as 10 hits of speed and adrenaline, like uncatchable youth ing the host “Next year well bring in a reggae band with matic 360 degrees around the rim of my coffee mug like beyond its years, and most of all, they generated the kind steel drums” matter of factly as if he were the band leader some insect ballerina. I love summer. of chaotic freedom mixed with intensity THE STOOGES and I wasn’t available this year, 1999. I have corrobo- Speaking of the bay, GUESS who was chosen for had 4 years before with RAW POWER. THE rated this account from the other acts that were there the examiner/Bay Guardian’s best of the bay edition… POPSESSIONS proves NEGATIVE TREND were once this year (the promoter asking about me) and people more other than ANNE GALLOWY, the category: BEST a streaking crazy comet, caught perfectly by this fren- that were present last year when I was stabbed in the BUTCHER. She’s much more than that to me… if you zied ferel snapshot.” back by this lame sucko loser. So I hope that there is know who she is They say success is the best revenge… tell it to the bitter little bus-riding, brown nosing, nine-to-five, bud- “Rockin’ Randy’s new outfit is called SHAPESHIFTER and they drinking looozzers occupying barstools 4 thru 7 at ulti- mate looozzerville, THE VIRGINIA CAFÉ. KAREOKE are on their way on a West Coast tour with a C.D. on PINCHIT BOY, you got no tricks in your bag, just a stale ham on RECORDS without having played a note in PORTLAND.” whitebread… have another beer and tell us of your imaginary days in the C.I.A. before you catch the bus such a thing as bad publicity when I mention his name I got a letter from the couple who left the band home to the lonely pathetic moral squander that is your DENNY MELLOR, this actually may be the high point CHERRY BOMB informing me the’re joining a new line- supposed life. Wah-WAAA. for a remarkably unremarkable career. This guy really up, called LADY SPEED (formerly LADY SPEED Next on sale at the ROZZ musical garage sale… tries to suck off and siphon off my fame and colorful STICK), and they are now happily married. Maybe we THEATRE OF SHEEP songs. On such titles as “Nar- career path and no doubt will be lobbying and weasel- could get them to play a few tunes at BUCK’S SUPER cotic Cabaret”, “Pill City”, or “Love is Never Sane” or play ing to get in on the big NXNW jam session at Buck’s. I SHINDIG which I’m ecstatic to be emceeing this year. them in your own band… publishing and mechanical would rather invite the ROB O’ HEARNS, JEFF TROTTS Hopefully we will get BEN DAVIS there too, I heard he rights. and legitimate Portland rockers, rather than the trash needs a guitarist if anyone is interested. It’s the hippest LL

✯ ✯ ✯ Billy. ✯ ✯ « « « The book. American Coin Machine ✯ ✯ Please send $12.00 Sega, Pinballs, Video plus $2.00 to cover ✯ ✯ Automatic Products postage costs, to: ✯ ✯ Dixie - Narco ✯ No Fate Publishing Used Games 3800A Bridgeport Way W. Suite 492 700 SE Clay 233-7000 University Place, WA 98466

Page 26 - TWO LOUIES, August 1999 worked with have been signed.” onto the stage; right down to his Garth Brooks-style Oregon Late Summer Bluegrass Festi- headphone and battle of the bulge torso he sported val, a first-annual Oregon event, is slated when he took off the studded leather vest he had been for August 19th through the 22nd at Hood wearing. The audience lapped it up, shouting out lyr- River County Fairgrounds in O’Dell, Or- ics to old Evil Genius/Wild Dogs/Dr. Mastermind egon. This 10 year-old and formerly Californian songs and throwing out the devil fingers, as if it were Continued from page 23 event, has been moved to Oregon this year to accom- second nature. I felt like I was watching metal history modate the promoter’s need for Portland-based medi- playing out before my eyes. The big surprise, not hav- contact with bands from town that they met and liked cal treatment. Dale Lawrence has put together a nice ing seen these guys back in the old days, was when and vice versa. Maybe some out of town gigs were collection of Bluegrass royalty to grace the family- former band mate Ken Goldstein (Pushy Jew Produc- arranged through that connection met at NXNW last friendly event this summer. Featured acts will be The tions) joined them onstage for “F-U-C-K YOU!”, and year or in prior years? What about the A&R guys that Austin Lounge Lizards, Laurie Lewis w/Tom Rozum right before our eyes, Ken changed instantly from a more than a few locals got to buttsniff? Maybe there’s and Craig Smith, The Dry Branch Fire Squad, Laurel diminutive offstage Mr. Hyde character into a raging no label deal now, but when someone in the loop Canyon Ramblers w/Herb Peterson and several oth- Dr. Jekyll bass-crippling rock star, complete with Slash knows your name and who you are, they might be ers. The whole event sounds like a hootenanny, com- hairdo. Matt has always had great complements for inclined to jump on the bandwagon if you do some- thing spectacular. Hell, I even remember seeing Willamette Week’s Richard Martin boning up to the “Portland has a real fresh scene. Lots of different music. I think guy from CMJ at one of last year’s rag panels, and last it has integrity and it’s sophisticated but without being big on I heard, Mr. Martin went to work for them in Seattle or something. I guess what the question really boils attitude. People tell me it’s clique-ish but I’ve seen a lot of down to is this: Can NXNW help a band, artist or intersections in the music scene there. It’s the hottest place, bottomfeeder become spectacular? I say it couldn’t hurt. musically, in the whole country right now.” -Ian Moore Grindstone, hands-down, one of the hardest working bands in town, are heading into Falcon Stu- plete with Apple Pie Baking Contest, Wine and Brew Goldstein’s musicianship, but he never mentioned dios this month to record their second CD, No Where Tastings, Pancake breakfasts, Chili cook-off, plus free that that dude has star quality! This, coupled with Under, with producer Sean Norton. Sean recently kids games and a craft fair. And there’s plenty of camp- seeing a ghost from my past that night, actually got engineered Generator’s signed-to-Epic-CD, Volume, ing available! As local Bluegrass/Americana promoter my heart thumping and palms sweating even before and Lael LeRoy & The Loved’s new CD. Sean told me, John Malloy says, “Nobody can’t like Bluegrass. You The War Pigs came on. I loved watching War Pigs’ “I really look at it as Grindstone’s debut album, even listen to it and you have to like it. Even the younger, guitarist Tommy Von, up at the stage when Evil Ge- though they self-produced their first one. This one harder crowds are getting into it.” John, who gave me nius was performing, mouthing every word that Matt is going to be a huge calling card. I’m excited about the heads-up on this event, has been busy promoting was singing and throwing his fist into the air with all it. I like Lamar’s vocals, especially his harmonies. I’m shows at the St. John’s Pub as well as at clubs in town. the gusto of a new found headbanger. Man, that’s what just gonna turn ‘em up louder than God.” The guys Look for a pre-festival performance by Laurie Lewis I call a tribute! As they loaded out, Evil Genius’ Drum- in the Grindstone camp are certain that their new and Tom Rozum (w/special guest Ann Hills) at the mer and metal vet, Pete Laufman, murmured some- material shows how the band has matured in the three St. John’s Pub on Friday, August 13th. Baby Gramps thing to me about having finally received his metal years they’ve been playing and working hard together. also plays a CD release party at “The Dome” on Sat- medallion that night….and as they say, the rest is his- “There are going to be a lot more elements on this urday, August 28th. tory. A video of this Mt. Tabor show, featuring clips album,” says frontman Lamar Stilwell. “We’re going Another engineer is hanging out his shingle in of The War Pigs, Evil Genius and opening act, Mon- to break the Alice in Chains mold that we’ve been in. Vancouver. Ron Chick, who’s recorded the likes of key Fur, will be running on public access stations Our guitars will be heavier but we’ll still be melodic. Lloyd Jones, Carol Mack and has recently finished throughout August. Check Matt’s webpage: This time, all of the band members have contributed Jonathan Jackson’s (Luke & Laura’s son, “Lucky” on USMETAL.com, for play dates and times. to the songs and there are more acoustic elements General Hospital) new pop CD. Ron’s advantage: Full ‘til next time… included in these songs. Basically, the songs on this in-house production and he can provide, “within rea- gigs/events/releases you’d like me to know CD are about our experiences as a band the past two son” any instrumentation. Call Ron @ 360-571-0200 about? I can’t write about ‘em if I don’t hear about years.” When asked how they decided on Sean Norton if you want to know what he’s about. ‘em. to produce No Where Under, Lamar and Scott Evil Genius gave it up at a recent Mt. Tabor show Lewman (Local Bones Management) both said that with The War Pigs. Matt McCourt, as usual, brought Sean was “really tight” and that “three bands that he’s his larger than life musical talents and showmanship LL

The 1999 Oregon Rock Allstars CHAMPIONS OF THE ’98 BILLY RANCHER MEDIA INVITATIONAL (crushing KGW, Willamette Week and the Blazers)

Manager Marty Stites: 648-4830

TWO LOUIES, August 1999 - Page 27 that time the band has grown in number— enlarg- throughout the proceedings lend every track a per- ing from a trio into a quartet with the addition of sonality of its own, which in itself is an achievement, second guitarist Giles Muthersbaugh; embiggening given the medium. and toughening up their rugged Pop sound in the As with the opening track, “I’m The One,” the process. Main Janer David Graham provides the gusto band consistently strides through the material, here Continued from page 21 and bravado on lead vocals and guitar, as bassist Brad across a Zep-like riff, Graham snarls the vocal, sup- Warfield joins Muthersbaugh in the backing vocal ported nicely by harmony vocals in the turns and It’s just Pete and his acoustic guitar on “The constitueny. Drummer Billy Buckmaster never fails choruses. “Alone” begins with fine interplay between Door,” a pretty song, distinctly Elliott Smithian in to provide propulsive punch. acoustic and electric guitars and the bass in a figure construction. Guest Kaitlyn Ni Donovan isn’t given In the tradition of the best American Pop/Rock similar to that found in the Flys’ “Got You Where I much to do on her violin solo, merely recapitulating bands, i.e. Cheap Trick, the Knack, Bachman-Turner Want You,” before kicking into overdrive in the the vocal melody through a Overdrive (technically Canadian), the hardhitting chorus. verse section, but curiously “Sold Me Out” is a little vague lyrically, fail- playing no other part in ing to provide enough information the arrangement. Ni in the storyline to successfully con- Donovan plays a more in- nect the dots. But tegral role on violin in photo David Ackerman the chorus is a Repp’s “Heavy And Drag- molten piece of ging,” a song with a strong Ramonesish chorus, somewhat remi- rocklava. Jazzing niscent of early, things up a bit with Donnelly/Hersh-period a syncopated Throwing Muses. Very three-beet, nice. “Goodbye” dis- Lash’s keyboard complimentary con- plays a lyrical sense tributions to Repp’s “Faire” and Ficht’s of humor that “Cloud Factory” are deftly subliminal, does not quite adding layered depth and complete its majesty to both composi- thought, but tions. A throaty organ figure that is good to see and a filigree piano flesh out all the same. the former cut; windchime- “Lemon” utilizes a like piano and stately organ jagged guitar sound to pads subtly color the latter. its best effect over a big An infectious tom- beat, and a fat bass driven drum beat propels bellow that picks “Our Parader,” the undeni- up motion in the able hit of the set. Over a middle solo break. gritty bassline Ficht inter- Very cool. Cool jects occasional accents on too, “Waiting” electric guitar that evolve benefits from a into a catchy riff that brings to mind “Pump It Up” - Pipe Dreams; new use for an expired equine. rousingly impressive chorus. era Elvis Costello. Lash’s Gary Numanish organ pas- Probably holding together the best lyrically, “I tiches dress up the memorable chorus. Very cool. Repp follows with “Rocking Chair,” a solo excursion on elec- “In the tradition of the best American Pop/Rock tric guitar, intelligently capturing a simple wisdom with restrained emotionality. bands, ...the Janes make the most of four-power The State Flowers present an ineluctable conun- drum. For within the band are two intelligent singer chords and a few familiar riffs and runs. ” songwriters whose style would seem sufficiently com- patible as to afford the pair an unique dynamic form Ramones, the Romantics, the Cars and the Replace- Don’t Want To Be You” tells a story of sorts, with a from which to deliver their individual messages. ments, the Janes make the most of four-power chords sort of Mellancampy chorus. “Meaning Of It All” is Yet, for whatever their reasons, they have elected and a few familiar riffs and runs. There sound is not entwined around a Creedence-like riff in the verses, not to become involved with each others’ material, particularly original, but more traditional in a Rock evolving into classic chorus. Similarly “Something For beyond minor rhythm guitar roles and oohs and ahhs sense. And they execute their musings with a rever- Free” displays a ballsy chorus that offers real staying in a background vocal capacity. This seems like a con- ence that is incontrovertible in its own essential power. siderable waste of available talent and a squandered charm. See Jane Run are more than competent at what opportunity to create a singularily identifiable sound. Graham is a strong lead vocalist with a gritty, they do, presenting a wide array of licks and chops, While the songs and performances here are quite sneer to his delivery. While the lyrics are not likely to far more than the quotient of the average local band. commendable, one cannot help but wonder at what be confused with Yeatsian stanzas, they hold together With a little more time spent on the lyrics: in an ef- might be possible for this promising band. well enough, for the most part, to convey their callow fort to make the component pieces fit together as Dog Days— See Jane Run world view. Still, Graham’s uncanny propensity for seamlessly as the instrumental passages, this band Self-Produced crafting a solid Pop song is unerringly adroit, as each could easily find their names listed in the pantheon It’s been three years since last we saw an offer- of the eleven (and the even the bonus track) num- amongst those of their heroes, whom they emulate ing from See Jane Run reviewed in these pages. In bers here demonstrate. Spot-on ensemble work so wonderfully. LL

Page 28 - TWO LOUIES, August 1999 THE GRAND OL' SOAP OPRY BY BUCK MUNGER a kick out of Weird Al’s take on their platinum www.billboardtalent.com is an Internet new mu- Warhols will be previewing the material from hit, “Zoot Suit Riot”, reworked as another in the sic showcase for talent buyers...Music Millen- their new Capitol album, due out in the year string of Weird Al food jokes; “Grapefruit Diet”. nium re-launched their web site this month, 2000, at the Club Ohm, Friday, August Al’s album “Running With Scissors” on Way complete with a 300,000 piece database. Ops 20th...Tony Lash produced the new State Flow- Moby/Volcano is out now. manager Bill McNally says Millennium will be ers CD “Third Of July”, the flowers will bloom at “selling digital downloads with a variety of dif- a live in-store at Music Millennium West, August Friends in high places... ferent software including MP3 and Liquid Au- 7th at 1:00PM...Lew Jones music video for his Burnside Records artists 44 Long wowed ‘em dio. www.musicmillennium.com also features a tune, “Terwilliger Bridge”, directed by Frank out at the national DNA Convention just “local music” page...Jesus Presley Mahoney, got a favorable review in San passed, prompting Billboard “Declarations Of now takes credit Francisco’s Zine World magazine (7/17). Lew is Independents” columnist Chris Morris to de- getting over 4,000 downloads a month on his scribe them (7/17) as “the major revelation” MP3.com posted material...Steve “Pearly” of the national distributors’ convention. Hettum is becoming a country star in Eu- Morris also calls 44 Long his “dark rope without even leaving his farm in horse pick of the year.” Gold Hill. Pearly’s latest, “Fisherman’s Ball” on But is this the way you want to be Comstock Records rose to #10 remembered? on the European Country Mu- Tom Sinclair, writing in his EW sic Association’s top 40 charts, “Hear and Now” music column (7/30) after only two weeks. Country got it almost right... Music Roundup “Britain’s num- “Meredith ‘I’m a Bitch’ Brooks up- ber one country music newspa- coming disc, ‘Deconstruction’ includes per” says Pearley is “a cross be- a cover of flower child Melanie’s 1970, tween John Prine and hit ‘Lay Down (Candles In The Rain),’ Jimmy with, of all people, Queen Latifah Buffet...imbued guesting...” with the spirit of Meredith “I’m a Bitch” Brooks.? Woody The name of the song is “Bitch”, pal... photo Buko Guthrie”...the band Mel won Relaxing in the top ten... The Lollipops; Three men and a dog, the annual Ernie Robert Cray’s first album for Rykodisc, Tres Shannon’s new acapella act. Ball Battle of the “Take Your Shoes Off” continues to cruise com- Bands held at the fortably on Billboard’s Blues Albums charts at Roseland Theater, July 1st. Mel #7 after 12 weeks. (7/31) cards for CD’s & tees at the gig. JP plays a free edged out three other semi-finalist bands to win show at Pioneer Courthouse Square August 12th the coveted opening slot on the ’99 WARP Tour. SOLO NOTES....Sometimes Portland band at 7:00PM ...Pink Martini passed on $45,000 to Horseshoe Music was the local sponsor... Reckless Kelly shows up at #6 on Billboard’s play Atwaters on New Year’s Eves reports Paul unsigned talent chart. (7/10), Duchene in the Oregonian (7/23)...The Dandy LL

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TWO LOUIES, August 1999 - Page 29 LETTERS Dear Editor RosebudReviews As one of the fortunate souls at the David Lee Continued from page 8 Continued from page 3 Roth/Bad Co. concert on 7/28, I must tell Two Triple Swift/Fuzz/Swift Music offer from Atlantic because the front money wasn’t Louies readers about an amazing Portland export, enough. Todd Jensen. A homegrown bassist currently on Jason Ltd also signed a 5 piece band from Port- tour with David Lee Roth, Todd made a huge con- The power trio of rock. The trine of guitar, land, Oregon to a production contract. During a visit tribution to an outstanding show. drums and bass. Should I list some famous three- to the new offices, Who bassist John Entwistle named Todd also confirmed my belief that Portland somes? “I don’t think so”, but Triple Swift is a Port- the band Wrinkle Wrinkle consisted of Songwriter/ musicians can take on big time rock and still re- land band who’s notion is to “keep rock pure”. I lis- bassist Allan Gunter, (now in the Portland band main generous and humble. Todd doesn’t know tened and liked it. I’m a sucker for straight ahead Seymour) vocalist Jim Dunlap, drummer Jim me from Adam, but when he heard about my 21+ rock. Their low harmonies have an attractive, sexy Graziano, keyboardist Mike Parker and a 19 year old year quest to meet my idol Diamond Dave, he not sound. They are well rehearsed and their practice is lead guitarist named Jim Mesi. The guys in Wrinkle only blessed me with tickets & backstage passes, he paying off. “We could be friends!” Up tempo segues came down to L.A. and lived on nothing but union and well mixed drumming. Very impressive. Eddie also seemed genuinely interested that I was enjoy- session checks for several months while Buck pro- Esparza on drums, John Huddleston on bass and Paul ing myself despite not getting to meet the big guy. duced the album for United Artists’ Imperial label. Bond on guitar and lead vocals do a smash up job. I Imperial had all the Fats Domino 50’s hits. All five For all of you who think local musicians mov- especially like “The way you said it”. I love hearing Wrinkle guys and several Wrinkle “old ladies” re- ing on to the big time become unappreciative and sincere rock. It’s good to hear means voices trying to hearsed in my garage, foraged through my refrigera- pompous, think again. Todd Jensen continues to sound pretty. It’s good stuff. Track seven is B movie tor and zoned out on my TV set, sometimes when I be thrilled and gracious about where much-de- sound track stuff. A speeding classic American car on wasn’t home. Jim Mesi was famous for climbing in served success has taken him. a lonely stretch of highway. (Don’t go there.) through my bathroom window to take un-scheduled C. Rosen showers. Lava de Mure-Steamy/Agent 47 Advertising Jim Crummy/publisher Bland On The Run

Next Month: Jason Ltd starts the Oregon Rock Dear Editor. Up beat and very exotic in a Motels/No Doubt/ Kitsch way. I like the sound, but the vocals are not Allstars softball team, a series of free concerts at Sunset I am in a band with no record deal. quite mixed in. You can tell instantly that the musi- & Vine and a national music recording trade maga- I recently saw Generator. Rock is dead. zine.. cians are accomplished, and I love the theatricals. It’s With all due respect to the Dan Reedjects on all great music, but it feels like the ballroom dancing Dear 2 Louies, stage that night, please get off. I had a better time lessons are not far away. If this was a musical, I would watching Skidmore Elvis the next morning at Satur- “get it” more. I think they need to write an opera. I couldn’t help notice all the negativity from the day market. local media concerning the David Lee Roth show, Generator plays with all the energy and passion LL Wednesday the 28th of July, at the Rose Garden Arena. of a fly-fishing David Duchovny. Sure, they have a The Boragonian, local radio, local TV all seemed to record deal, but so does Ringo Starr. My guess is that think that the show would be bad or was bad, de- this time next year Oegonians will be: pending when you heard them talk about it. I even A.) Wondering what to do with their two hun- dred pounds of trail mix and powdered milk and Established 1979 heard them sing the praises of Bad Company who Publisher were utter crap. Yes they were Bad, as in not good. On B.) Lousy with Generators. And Generator will James E. Crummy the other hand, David Lee Roth rocked the house. It still be lousy. Editor was just like having Van Halen back again. This only Steve True Buck Munger Director of Photography proves that where the singer goes so does the original PS- That Ford Pearson guy is about the most Buko sound. Just like with Ozzy. Don’t get me wrong, Van butt-ugly looking goober I’ve ever seen. He’d best use Writers that $10K for lipo-suction and a haircut. Marc Baker Hagar has its place. My trash can. Back to Mr. Roth. S.P. Clarke Damn he was good, much better than when I saw Bart Day Bud Palmer him in ’92 after he was abused by the VH brothers, he Robin Rosemond had let himself get out of shape. Wednesday, sur- Marianne Steiner rounding himself with youthful musicians, he looked Rozz Wright Photographers young and full of energy, running, jumping and strut- David Ackerman ting all over the stage. His between song dialog with Christine Frederica all the beautiful girls was in great form and he only Gustavo Rapaport Layout & Graphics forgot the lyrics once. He also paid homage to local Buko bass hero Todd Jensen who has been touring with him Printer all summer. I just happened to be lucky enough to Oregon Lithoprint Two Louies Magazine score a couple of BS passes from a friend. Yes we got 2745 NE 34th to drink the band’s beer and meet Todd’s parents, as Portland, OR 97212 (503) 284-5931 well as suck up to Todd and the rest of the band, just FAX: (503) 335-3633 like Bill Prescott and Bob Anchetta . Ah yes, all in good Email addresses: fun. So Roth rocked and why the local media didn’t Editor: [email protected] acknowledge this just baffles me. Layout: [email protected] © 1998 by Two Louies Magazine. May not be repro- duced in any form without the expressed written con- Hope you print this, Internet pirate; 10K for a makeover. sent of the publisher. Two Louies is available by sub- scription. Send $35.00 for one year, postpaid to: Garry Dawsen 2745 NE 34th LL Portland, OR 97212

Page 30 - TWO LOUIES, August 1999 MUSICIANS CLASSIFIEDS FREE STOP IN ANY PORTLAND MUSIC LOCATION & FILL OUT THE FREE FORM

Rock/Blues Guitar/Vocals 39 Written In Ashes needs a guitar Original rock band seeks Bass Player (44yrs) looking for band years experience. Join or form player. Gothic Dick Dale. Travel, drummer. Brother duo with for additional income and fun. pro- band Call: Gary 693-9837 Gigs,Label interest. Phone 233- many orig tunes and good fessional for many years. R&B-Jazz- 3075 harmonies. We have gear & Prog Rock Loren 674-6839 studio. Aaron 266-6373 Bass player needed. Modern Bass, Keyboard, Sax needed (vocals a rock/Power pop. Have studio & Booming baritone singer seeks plus) Covers: oldies/blues Must have equipment you may use. Todd keyboard player, lead guitarist, Working traveling band seeks own equipment Ryan 402-2027 708-7070 bassist & drummer. Gigs in the any & all musicians. Meter/ Fall? Estevan 503/310-6340 dynamics very important. Vocals Solid drummer seeks working band. Bass player multi-inst available. a plus. 503/674-7845 Beatles, Stones, Bangles, B-52’s, Todd Gene 240-8222 Punk band needs drummer. Rundgren. Clay 692-8226 Influences Pennywise, 98 Mute Oregon’s #1 marching band now Bass player available Kevin H- etc. forming. Minimal commitment Guitarist seeking to join or put to- 503/598-9631, W-503/231-7300 Call Ian at 256-1777 required. Brass, woodwinds, gether electronic groove rock. Exp. percussion. Steel 503/668-0833. only. Martin 360/735-8070 Guitarist/vocalist seeking heavy Acoustic guitarist/singer and Singer looking for all original hard Bass player. Two plus decades work- drummer for orig material bass player seek drummer, rock band. Influences; Godsmack, ing experience. Geared up ready to go. keyboards, violins for orig Dave demo Soundgarden, Alice In Chains, Working only please. Tom 232-7001 Call Phoenix 380-4084 Matthews bag band. Rick 627- Buckcherry. Call Rick 254-2312 7832 Singer w/ambition & dedication seeks Singer wanted to put vocal track PAWN Seeks straight forward drum- band w/same. GodSmack, Alice In on pro full length CD, then rule Wanted drummer, bassist, mer to keep music interesting w/ Chains. Orig only. Rick 254-2312 the world Brandon 735-1866 guitarists for Blues/Rock beats & fills. Influences; Tool, Korn, country band. Experience not Deftones. Cameron 643-0742 Drummer wanted for Caribean band. Delusions Of Adequacy needs a necessary but welcome. Brion Grooves a must. Original music. Marc 760-4798 pager 909-5441. bassist. Will send CD. Call Steve 408-4914 Wanted: Bass player to join at 690-8720 keyboardist, guitarist, drummer from the “band wars” of the 70’s Influences R&B to Latin-Jazz John: 262-1974

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TWO LOUIES, August 1999 - Page 31