OREGON MUSIC / MAY 2003 photo Buko Page 2 - TWO LOUIES, May 2003 TWO LOUIES, May 2003 - Page 3 photo Pat Snyder he Church of Northwest Music is born on KBOO FM. Hosts Roaddah X and Fiona Martin pictured at the pulpit. In 1991 Fiona left to become a reporter for Reuters and the Crazy 8’s manager Marc Baker joined Roaddah as co-host of the “Church Of Northwest Music”. The next year TRoaddah left to do PR for the Dalai Lama and Marc continued as the solo host for the next dozen years. This month KBOO decided there wasn’t room on the schedule for the local music show that gave hundreds of northwest recording artists their fi rst actual radio airplay. “The NW Music Show” as manager of the Crazy Records and “The Church of NW Music Volume 8’s when booking the band for a live appearance 1”, a sampler of 17 live performances from the and interview in the late 1980’s. It was at that time show on BDC Records. I attribute much of the that I believe Rhonda fi rst became aware of my love shows success in the 90’s to Jay Bozich as well as of and prior involvement with radio through my “DatMaster Eric” Squires, who often stopped by years at KBVR at Oregon State (show host, Music to record the live performances as well as offer his Director and Station Manager), KGAL in Lebanon two cents on local music. “DatMaster has got to KBOO SACKS CHURCH (Top 40 late night radio host for college fun money) be sitting on some amazing live radio recordings! Dear Two Louies, and KRRC at Reed College (radio host). The Engineering genius of “Harry and Barry, The When Rhonda Kennedy(Roaddah X) con- “I was informed that the show’s last date is Wednesday, May tacted me in 1990 to help her out with the NW Music Show on KBOO, I had no idea that I would 14th. I have requested a fi nal slot in June preempting at least one be taking over the show solo the following year and other show so that I can reminisce on the history of the show but carry the show as “The Church of NW Music” into the next century. do not expect that to happen.” The NW Music Show was started in the late When Fiona departed for Costa Rica I got Disciples of Sound” has been very important at 1970’s when Ronnie Noize recognized a segment the call from Rhonda and jumped at the chance! keeping the level of live performance work as high of music that wasn’t being heard on the airwaves, Through the fi rst few months we began to explore as possible in recent years. namely local music. Through the years the show more live performances with “Brother Jay” doing An amazing variety of live performances have has evolved, just as the local music community, some amazing Engineering over the years. taken place on “The Church” including Everclear, distribution methods, technology and infl uences When Rhonda departed in 1991, Jay became Kelly Joe Phelps , Carmina Piranha, “Little Sue” and support mechanisms have. more of a part of the show on top of his live Engi- Weaver, Pink Martini, Hazel, Golden Delicious, At some point in the 1980’s Rhonda Ken- neering contribution. Engineering was always his Pond, Fernando, Hungry Mob, Richmond Fon- nedy and Fiona Martin inherited the show from focus though with some of his work so good it taine, The late John Fahey, Torcher, Bingo, The Ronnie keeping the local music experience alive was transferred to live recordings including the on the radio at KBOO. I fi rst became involved with fi rst King Black Acid recording on Cavity Search Continued on page 23 Page 2 - TWO LOUIES, May 2003 TWO LOUIES, May 2003 - Page 3 Page 4 - TWO LOUIES, May 2003 TWO LOUIES, May 2003 - Page 5 RELEASING YOUR OWN RECORD: is one exception to this long process: If you are performing on the record who are signed to a label, A 15-POINT LEGAL CHECKLIST operating individually, and not as a company, and they will normally need to be credited as appearing are initially pressing 2500 units or less, you can “Courtesy Of” their label. or artists who are releasing their own use their online licensing process by going to http: 9. Liability Releases/Permission Forms. You record for the first time, without the //www.songfile.com/nonpro_search.html. That need to consider the possible necessity of getting a Finvolvement or assistance of a label, the way, the licensing can be wrapped up much more liability release or permission form signed in any of process can be a little intimidating. It can be easy to quickly. the following scenarios: (a) If a photograph and/or miss some key legal details in the process. For songs not licensable through Harry Fox, artistic image of an individual outside the group is Therefore, here is a very basic checklist of issues to be considered when releasing a record. Bear in mind, though, that your own particular cir- cumstances may dictate that you take certain steps that are different from, or in addition to, the various steps mentioned below. Also, it has been necessary to greatly oversimplify some of the issues discussed below due to space limitations. 1. Agreement Between Members of Group. If it is a group (as opposed to a solo artist) releasing the you must contact the publisher directly. Usually included in the artwork; (b) If any of the artwork record, and if the group has not already formalized the easiest way to do so is to obtain the publisher’s which you are going to use is owned by any third its relationship by way of a partnership agreement, telephone number info from the “song indexing” party; or (c) If any logos or trademarks owned by incorporation, or limited liability company (“LLC”), departments at ASCAP and BMI. third parties appear in your artwork. There can be there should at least be a clear and simple written 5. Sampling Clearances. If you are including some tricky legal issues in this area, so be very care- agreement among the group members about how any samples on your record, you need to obtain ful here. the fi nances of the recording project will be handled. sample clearances from the publisher of the musi- 10. Copyright Notices for Songs. Be sure that Also, it is always a good idea to deal with the issue cal composition being sampled AND, separately, the the liner notes contain the correct copyright notices of the ownership of the group’s name as early in the record label that owns the master being sampled. for all of the songs on the record, i.e., both for your group’s career as possible. Do this as early as possible, as there will be some original songs and any cover songs that you are using. 2. Investors. If there are investors involved, instances in which either the publisher or label will Information about copyright notices can be obtained documents will need to be prepared in order to not be willing to issue a license, or the licensing fee at http://www.lcweb.loc.gov/copyright. Also, make comply with certain Federal and State securities which they require may not be affordable. sure that the song credits correctly state for each song laws. Be especially careful here. Also, some duplicators will require you to the name of the song’s publisher and the publisher’s 3. Distribution and Promotion Strategy. sign a form stating that either you have not used performing rights society (i.e., ASCAP, BMI, etc.). Think ahead about how the record will be distributed, any samples, or that if you have done so, you have A non-legal sidenote: At the same time you are advertised, and promoted, and how much money will obtained all necessary clearances. If there is any obvi- working on the artwork and the copyright notices, be needed to effectively market the record. Some- ous sampling done, the duplicator may require you etc., double-check to make sure that your artwork times all (or almost all) of the budget for a project to show them the clearance documentation. meets all technical specs of whoever will be print- is spent on recording and manufacturing costs, and 6. “Work for Hire” Agreements. For any ses- ing the artwork. Also, if you will be distributing the there is little or no money left to effectively advertise sion people, engineers, etc. whom you are hiring, it record through a record distributor, make sure that or promote the record. This, of course, is not really is wise to have them sign a short and simple “work your artwork conforms to the distributor’s specs. a legal issue but is such a common (and often fatal) for hire” agreement, to preclude any possible future 11. Copyrighting Your Original Material. Cer- problem that I feel obliged to mention it here. claims by them that they are owed royalties or that tain copyright applications need to be fi led promptly 4. Mechanical Licenses. For any cover songs they have ownership rights in the masters. Do this for your recordings and for your own original songs. appearing on the record, you must obtain a mechani- BEFORE you go into the studio. Use “Form SR” for copyrighting the masters of the cal license from the owner of the song (i.e., the song’s 7. Producer Agreement. If you are using songs, “Form PA” for each of your original songs an outside producer, there needs to be a producer on the record, and “Form VA” for the artwork (if you own the artwork and want to copyright it).