OREGON MUSIC / APRIL 2003
photo Buko Page 2 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 3 photo Buko hirty years after recording “Louie Louie” the estranged members of the Kingsmen reunite in the Two Louies kitchen to welcome Billy Gibbons of ZZ Top to Portland. Kingsmen drummer Lynn Easton, vocalist Jack Ely and guitarist Mike Mitchell recorded “Louie Louie” as a demo for Ta cruise ship gig. Ely quit shortly thereafter. This month the UK’s Mojo Magazine selected the Kingsmen’s “Louie Louie” #1 on their Ultimate Jukebox of The 100 Singles You Must Own. April 15th RCA Victor releases the new ZZ Top album “Mescalero” followed by the “Beer Drinkers & Hell Rais- ers 2003 Tour” beginning April 25th. Look for Mister Gibbons on the streets of Portland the second or third week of June. LL if anybody has an address, telephone number PDX KISS GUITARIST or email for Joe. I must have thought this was Greetings Two Louies, an audition for a new Buster Keaton fi lm. That Back from Vegas and the KISS show at the Yellow Pages tee shirt was purchased for $1.25 at Palms featuring my pal Tommy Thayer! Flew down the Salvation Army, I cut off the sleeves like any with John Thayer, Tommy put us up at the Palms young rocker would do in 1983. I wanted to take and passes all around. After a nice preshow visit BED STAINS the band to Los Angeles but no takers, so I mar- with the band we were herded down to the Maloof’s “Tommy breathed new life into the boys that night, even Peter was pounding harder then usual. There was a lot of love in the crowd for Tommy, no one seemed to miss Ace...” ried the beautiful and provocative Anny Celsi (See private ‘cabana’ next to the stage (open bar, private Jonny Hollywood P. 6) and moved. She still lives bathrooms!) at club Rain. Not even Vince Neil and and works there. On the sad side of the coin our his little “Pamlet” (our code word for all the mini very talented bass player Mike Chriss had an awful Pamela Andersons) was in the cabana! photo David Wilds Dear Editor, accident which tore his hand up and changed his The show was fabulous, NO pyro, NO I just saw the Rewind picture of Map Of life around in a most brutal fashion. blood, NO fi re breathing, just staight ahead clas- France from 1983 in your March ’03 issue. The Duane Jarvis picture was taken backstage at Luis LaBamba. It’s Joe Loren Taylor with Lori (a fan). Let me know Continued on page 30
Page 2 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 3 Page 4 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 5 NEW CHANGES IN are being underpaid. by the three major labels to date, the changes MAJOR LABEL RECORDING CONTRACTS It should also be mentioned that the three announced vary somewhat from label to label. major label conglomerates mentioned above have Nonetheless, the changes announced by Warner Artist Royalty Reform: Is It for Real? been exceedingly slow in actually implementing Bros. are fairly typical of what the other two major n the past few months, several major the announced changes. This delay may in fact be label conglomerates have proposed. label conglomerates have announced eroding some of the goodwill that those labels were Warners has proposed, among other things, Ithat they will be substantially changing their recording contracts. These announcements have been in response to recent activity in the California Legislature. Last year, hearings were held before a California Legislature committee at which Don Henley, the Dixie Chicks, Sam Moore (of “Sam and Dave”), among others, testifi ed to the effect that artists are routinely cheated out of their artist royalties. trying to establish when they made their respective the following: Then, several months ago, a bill was proposed by announcements. 1. The traditional packaging deduction California State Senator Kevin Murray, a former (which today, for CDs, is usually 25% of the retail entertainment agent. This bill, if it becomes law, THE SPECIFIC CHANGES price of records sold) and the so-called “new would impose major royalty reform on record ANNOUNCED BY THE LABELS SO FAR media” deduction (which also tends to be in the companies. The first major label to announce such 25% range) will both be eliminated. As a result of this activity in the California changes—BMG—not only proposed new royalty 2. Royalties will now be calculated on a percentage of wholesale receipts, rather than on “Universal, Warner Bros. and BMG the retail price. 3. Artists and their royalty accountants have tried to head off legislative reform will now have the right to review manufacturing by voluntarily announcing that they will records, which record companies have in the past avoided like the plague. In other words, artists and be substantially changing their recording their accountants will now be able to determine how many records were actually manufactured, contracts.” which (with other information) may make it Legislature, several major labels—Universal, provisions, but also announced that the new con- easier for accountants to determine whether the Warner Bros. and BMG—have tried to head off tracts would contain provisions whereby BMG- sales data is accurate. legislative reform by voluntarily announcing that affi liated labels (for example, RCA and Arista) 4. Warner Bros. has agreed that if there is an they will be substantially changing their recording would receive a share of artist’s touring and underpayment of 10% or more of the amount due, contracts, and more specifi cally, the provisions of merchandising income, which record companies that the label will pay interest on the defi ciency. those contracts dealing with the payment of royal- have traditionally not shared in. Universal, in comparison, has announced ties to artists. (The other two major label conglom- erates—Sony and EMI—have not yet made any “It should also be mentioned that the three such announcements.) It is not yet known whether these voluntary major label conglomerates mentioned above have announcements by Universal, Warner Bros. and been exceedingly slow in actually implementing BMG will be enough to head off the enactment of California legislation imposing recording contract the announced changes. This delay may in fact be reform on record labels. On the one hand, Sen. Murray has been very aggressive in pushing for eroding some of the goodwill that those labels royalty reform legislation. On the other hand, the were trying to establish.” legislative hearings last year in Sacramento dem- onstrated that many other California legislators This announcement was met with con- many of the same changes, but also other changes do not wish to be involved in what they see as a tempt and derision by a number of major artist as well, including the following: private business dispute between artists and labels. managers. Indeed, the modest benefi ts to artists 1. Increasing their royalty department staff Instead, they feel that they have “bigger fi sh to fry”, from the BMG royalty reforms would be grossly so that artists and their accountants can get faster and would prefer to see any such problems resolved out-weighed by the extremely negative effect on answers to their royalty questions. voluntarily by record companies, especially the big artists if the label were to share in artists’ touring 2. Conducting royalty workshops for inter- major label conglomerates. and merchandising income. ested artists, so that the artists can better under- Incidentally, none of these major label Perhaps as a result of the outcry from those stand the royalties that are due. conglomerates have claimed that the changes in major artist managers, the BMG proposal (to share 3. Eliminating the restrictions that are in the their recording contracts will involve an increased in artist’s touring and merchandising income) was usual Universal artist agreement, for example, pro- royalty rate for artists. Instead, they only claim not included in the changes proposed by the two visions prohibiting audits by royalty accountants that by simplifying their recording contracts, art- labels which later made their own announce- who would be doing the audit on a contingency ists and artists’ accountants and managers will be ments—that is, Universal and Warners. better able to determine whether or not royalties As for the specifi c royalty reforms offered Continued on page 28
Page 4 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 5 //www.cdbaby.com/cd/milesahead) gets my musical “thumb’s up”. Their song clips say it all. Somewhere between “Kinda Blue” and “In a Silent Way”, Miles Ahead cops the “Miles Mystique” without borrow- ing directly. They don’t even have a trumpet! No schmaltz, or “easy jazz” here. It sounds like what Miles’s sidemen might have jammed on when Miles wasn’t in the room. Cool stuff. I hope to see them live the next time I’m in town. 3. Black Angel “Bitter Suite” - Found under Urban / R&B, Black Angel http://www.cdbaby.com/ cd/blackangel got me where I live. First, the name caught my attention, reminding me of “Sweet Black Angel” one of my favorite Stones songs. Second, the album title “Bitter Suite”. So straight forward, sounds immediately classic. What I heard when I played the Internet Mystery Shopper Besides being qualifi ed players, these guys are song clip “War” (how appropriate) blew me away. love new music. I need to hear two to four obviously very hip cats who know how to keep it This is music I never knew I needed until I heard it. new releases a month to feel like I’m get- simple and play straight from the heart. Also, the Now I gotta have it. Real-deal S-O-U-L. Dark and Iting my musical nourishment. These days link to drummer Michael Partlow’s website http:// earthy. This ain’t no party, this is some heavy Sh*t. it’s not fast-food music I’m looking for either. I michaelpartlowmusic.com/index.html provided me Tahoe Jackson’s vocals are straight from the church. want a unique listening experience to tweak my This band must tear it up live. A trip to their web imagination and feed my soul.. I want to hear site http://blackangelmusic.com only heightened passion, personal vision and, above all, Anny Celsi the mystique. Can’t wait to get this one into my the truth. That’s not too much to ask playlist. for is it? 4. Anny Celsi “Little Black Dress & Other Sto- When it comes to spend- ries” - Anny and I go way back. I fi rst met her during ing my hard earned dollar, I have the Unreal Gods day’s in Portland. Though I always never been one to buy the top-sell- knew she was a musician, I was never that familiar ing main stream type releases too often. with her music (sorry, Anny). When she invited me Heck, they are usually played on radio to the release party for “Little Black Dress & Other and television to the point of saturation Stories” I was curious. As fellow ex-Portlanders anyway. So why buy them. If it’s just one song living in Los Angeles I was interested to hear what I’m after, hello Kazaa. What I’m talking about Anny has been up to? Quite a bit as it turns out. here is what really sells a new release. Is it a single A trip to her web site http://www.annycelsi.com/ song, image, album artwork or press? The fact city_hall.htm fi lled in the gaps. In the classic singer- is it is a combination of all of the above, plus songwriter mode, Anny’s sunny/dark folky-rock catching me in the right mood with twenty took me to a “Raymond Chandler- dollars in my pocket. esqe” Los Angeles of hard So let’s take a look at what some North- lessons learned and the west artists are doing to present their music high cost of love. Dig it! to the world and intrigue potential buyers like It’s black and white 50’s fi lm- myself. We’re going to try a little experiment noir in color. The sound clip of “Little Black here. I am going to don the guise of “Internet Dress” tells me it’s going to take a few listenings to Mystery Shopper”. I am going to take my decipher the crimes between the lines on this one. personal money (no, this will not show up Only the names have been changed to protect the on my Two Louies expense report) so I can innocent (the guilty, I’m sure, are already in hell). claim that this test is as authentic as possible. Also dig the cool musical company, Kevin “brother Based only on my personal taste and bias that of Duane” Jarvis as well as Marvin Etzioni (Lone is. Scientifi c, but subjective. Justice, Counting Crows). Ching, ching. I think I’ll jump on the Internet and see Thank God and Al Gore for inventing the what catches my eye. CD Baby allows me to Buko photo Internet to deliver me my daily musical bread. do a search by location. I pick Oregon and, Wow, The artist’s that earned my business did so on their who knew, so much music to pick from! I guess with more background on a very interest- musical and marketing merits. Their presentation I have been away for a long time. All that rain is ing musician. Good job Dixon, good job Michael. drew me in and their music closed the deal. I’m a producing quite a musical crop. Anyway, given my tastes run towards Blues, Jazz, Soul, etc. let’s see what “Anny and I go way back. I fi rst met her during the Unreal Gods I choose and most importantly, why. day’s in Portland. Though I always knew she was a musician, I was And the winners are: 1. Dixon “Combination Platter” - Under Jazz, never that familiar with her music (sorry, Anny). When she invited sub genre Acid Jazz I found Dixon’s release http: me to the release party for “Little Black Dress & Other Stories” I //www.cdbaby.com/cd/dixon. Now I’m a total sucker for greasy Hammond organ, gritty guitar and funky was curious. As fellow ex-Portlanders living in Los Angeles I was drums. Booker T and the MG’s are defi nitely a favor- interested to hear what Anny has been up to?” ite of mine. Looks like Dixon’s bringing Booker up to date. First thing I noticed was the cool retro cover Into the shopping cart goes Dixon. happy customer. I commend the investment of time, art. I feel cover art say’s much about the intellect of 2. Miles Ahead “Milepost 1”- As a card-carry- money and talent that it took to make their dreams a an artist. I want to know I’m listening to people who ing Miles Davis freak, any band that puts the word reality. Till next time, where ever there is new music I wouldn’t mind having a conversation with. I read Miles in their name has got my attention. The to be heard, the Internet Mystery Shopper is there the description of the music and I know I’m on to question dejour is: will Miles Ahead live up to the to spread the good word. Peace! something. Now the acid test, the song clips. Two “Miles Vibe”, or are they just a bunch of music school seconds into “Freak Chicken” and I’m sold. mamma’s boy’s? The answer is, Miles Ahead (http: LL
Page 6 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 7 they asked me to help produce their record. I had absolutely no idea what I was doing but to this day its one of my favorite records. As far as favorite producers, I really admire Tchadd Blake, Gil Norton, and Mitchell Froom to name a few. Locally, there are a lot of great guys but in terms of people I’ve worked with, Sean Norton, Simon Widdowson and Larry Crane are money in the bank. Q: Can you give us the Readers’ Digest version of what makes a good record, and can you give me a short list of your all-time favorites? A: hmmm. A good record has to make you By Lisa Ford feel like its speaking directly to you. It should be as good in twenty years as it was the fi rst time you heard it. The cover should have hot chicks on it zra Holbrook seems to be everywhere producer have to be willing to take a lot of risks and (just kidding). these days. He recently produced Little expose a lot of their weaknesses. You really have to be All time favorites? This years model (Elvis ESue’s new CD and has either produced, able to trust one another, and know that it’s all right Costello), Closing Time (Tom Waits), 13 songs engineered, played drums on, or otherwise had to speak your mind. I started out being recorded by (Fugazi), Joan Armatrading (Joan Armatrading), a hand in projects by Fear of a black planet Lael Alderman and (Public Enemy), the Loved, American Magical Mystery Girls, Camaro Hair, tour ( Beatles), The Charm Particle, Soft Bulletin (the Stephanie Schneider- fl aming lips). I don’t man, Ashleigh Flynn, know, ask me again Simon Widowson’s tomorrow and the “Sweeper”, Lew Jones, list would be com- Jeremy Wilson, and pletely different. has toured with the Q: You are Baseboard Heaters. I also an in-demand caught up with Ezra drummer, an excel- at the SRO Green lent songwriter Room last Saturday yourself and a very night as he and his good guitarist. Is band Dr. Theopolis there anything else (who, by the way, were you play that I don’t extremely entertaining know about and how with EZ Money [Hol- do these instruments brook] fronting the give you insight into band with antics and production? hi jinks heretofore “When I was 19 one of my buddies was in A: I think its unseen this side of this band called VLA and they asked me to good to be able Saturday Night Live]) to approach the were setting up and I help produce their record. I had absolutely recording of a handed him this list song from various of queries and he was no idea what I was doing but to this day its directions. When kind enough to offer one of my favorite records.” you’re talking about these responses. recording “basic Q: People seem photo Buko tracks” (bass, drums, to be coming out of the other producers and I often felt bullied into going guitar…whatever woodwork asking you to produce records for them. along with their “vision”. The end result, of course, the band consists of without embellishment or What are you working on now and what have you was a record that I was unhappy with. If an artist vocals) each song needs a focal point or a nucleus got lined up for the immediate future? walks away with a record that they don’t love then around which the other parts are built. A bass line, A: Right now I’m working with Sean Norton I feel I’ve failed. So I try to establish the idea that a guitar riff, whatever. A basic understanding of all on a record with local singer/songwriter Jasmine I’m working for them, that while we’re both free to the instruments not only helps you conceptualize Ash as well as producing a new Dr. Theopolis track experiment, it’s also necessary to speak you’re mind the production of a song from every angle but also for an upcoming compilation album called Deep about ideas or directions that don’t work for you. helps you communicate your ideas to the musicians Roots. It’s a project where local musicians work in Q: How did you get started in this business, and involved. conjunction with the students from Reynolds High who are your mentors? What producers do you admire Q: A big part of a producer’s job is gathering to write and record music using lyrics written by the the most, whether local or national? the right musicians for the job at hand. How much students. Their English teacher, Chris Gragg, put it A: I sort of fell into producing really. All fl exibility do you have here in Portland, and who do all together. It’s a great idea. through high school I played in bands and did a lot you like to call on? Q: Do you have any particular guiding principles of recording. I had a crappy four track at home and A: The list is endless. Coming from California you use when you approach a project, or do you use I used to sit around and record different stuff just to I wonder if people realize the depth and quality of an intuitive sense of feel, a kind of shooting from the see what it sounded like. I’d put mics in arrowhead the music community here in Portland. hip, or some combination of both? water bottles and roll them around, stuff like that. I Q: How often does the project itself determine A: The only principles that I think are appli- never really had a technical recording education; I your choice of the musicians you use? cable on every project are related to communica- just picked stuff up here and there. When I was 19 A: Always. Most players have a fairly distinct tion. To make a great record both the artist and the one of my buddies was in this band called VLA and Continued on page 26
Page 6 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 7 i Two Louies readers! My Father The Rose festival is coming and this year it’s a Enough about the music, the dancing was superb. thinks he’s in Qatar, (he’s on strong horse of a different color. Change is in the wind and Vanessa and Christopher were exquisite together. Hdrugs for diabetes) when he’s actu- the new people looming large on the long-standing The core kicked ass and I will miss James Canfi eld. ally in Jersey and E Network is doing the True Hol- Portland tradition get the beer garden back. I’m It’s diffi cult to see all sides when it comes to Artistic lywood Story of Courtney Love! Ace reporter Mike looking forward to seeing Michael Allen Harrison Directors. I just look back to the history of dance Hacker called from the Vintage Plaza to get Rozz perform at The Showcase of Floats, which will have in Portland. I think James brought something Rezabeck Wright’s phone number. I told him about a new home at The Lloyd Center. great to ballet and I love so many of the dancers Two Louies and said Rozz is important in Portland I’ve been listening to Nora and production people that worked with OBT over and I love Courtney Love. Jones. It’s pleasant enough, but the years. After the last performance of Giselle the She’s one sister I never I’m also listening to a mystery record- dancers cried. They worked so hard on a show that want to cross. ing of Giselle. I worked on Oregon Ballet only plays a week. The music is so haunting and Mike and I Theatre’s production a few weeks ago and it’s such a sad story. I will always remember seeing Svetlova glide behind the scrim and cross the stage like a speeding ghost. All I hear about next year is Balanchine, Balanchine, and Balanchine. Went to Marjorie Sharp’s birthday party at South Park. It was the eclectic assemblage of young and old, rich and poor, lawyers and ladies of leisure. Susan Reich, Heidi Snellman, Bruno, Sieg- fried, Lily, and many more. We had a late afternoon happening and shared agree that most powerful women are the yummy crème brulee. considered bitches, but Courtney is I lived in the world of Wardrobe for sly, sly like a fox. The reason Mike The Producers. I enjoyed the experience called me was because Melissa Rossi, and met some fantastic people. Our now known as M. L. Rossi, and who’s Wardrobe Supervisor was Mike Lipsitz living in Barcelona this week, gave and he did an excellent job of wran- him my number. Melissa is writing gling eleven strangers into a hit show. for Newsweek and waiting for her new I was impressed with his patience and book, What Every American should humor. It’s a queen’s world in theatre know about the rest of the World to and I had the honor of being the only come out in May. Hopefully, Plume/ woman among an entire chorus of Penguin will send her to Portland for a queens. One more beautiful than the publicity tour. Melissa reports that she’s next. I was in heaven as far as I could living in the Gothic Quarter and has to tell. People come to Portland to per- holler down six fl ights of stairs to get her form from all over and they ask all Butane delivered for her stove. She wants sorts of questions about where to everyone to know that her publisher also go and what to do. People like it published; The Best Democracy Money can here. I see them enjoying what I Buy by Greg Palast. His eye-opening book sometimes forgot to appreciate. I is on the Time’s best seller list and Melissa wanted to run away with the crew says it’s great. We’re hoping her next big when it left town. Their head car- project is a European road trip in the fall penter, Geoff Vaughn is a terrifi c of 2004. stagehand and star dresser Jaki Speaking of Courtney’s, I saw the Harris was a delight. I was happy rough-cut of the new Dandy Warhols video. to be with a show that is so funny It’s a hot song about a couple that used to and such a pleasure to be a part be friends. The band looks fabulous in the of. I just want to take some time off and write colorful footage and insiders say shooting the jokes. I met my match and more when the local video at the new studio went incredibly well. and road guys went out and we partied. Jaki, the star dresser was a free-spirited lass from Scotland. “I saw the rough-cut of the new Dandy She had some incredible stories, but what struck Warhols video. It’s a hot song about a me about her was her blue eyes and sweet smile. She will be dressing Martin Short on the Los Angeles couple that used to be friends. The band leg of the tour. I would love to go see it from the looks fabulous in the colorful footage and front of the house. Don’t forget to step out and see Michael insiders say shooting the video at the new Brophy’s new paintings at Laura Russo Gallery April 3-26 and John Brodie’s recent paintings at studio went incredibly well.” Lovelake April 3-26. The recording studio is manifesting beautifully and received a copy of the version they used. I hear it Write to me: [email protected] the choices for décor are grand. was recorded in Cuba. The second act is incredible. LL
Page 8 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 9 Sputnik: Traveling Companions- Gravity and Henry Revolve Records ravity and Henry are a power duo of the highest order. Vocalist/guitarist Matt Sheehy and drummer extraordinaire, Jarhid Brown (who also adds background Gvocals) easily pass for the Police of the 21st century with this baker’s dozen of high quality songs, well-written, well-wrought and well-produced. Intelligent, impassioned and energetic, this pair overflows with ideas, with the inherent abilities to fully execute those ideas. While not sounding particularly like anyone, Sheey and Brown call to mind ‘80s bands such as XTC, U2, Oingo Boingo and especially the Police, as well as more current acts such as Semisonic and its predecessor, Trip Shakespeare. But more so even than Scott Continued on page 11
photo Shawna McCarroll
Page 8 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 9 night with a great set of hard hitting catchy tunes that almost took my mind off of the go-go’s for a minute or two and, Portland’s own award winning modsters The Supefi cials who kicked my royal butt with their own brand of hard paced originals, cool guitars and non stop stage action, great, great band indeed! Mod Lewis opened the evening so as to set the groove if you will, by playing mostly originals written and arraigned by Adam East of Sweet Juice. You gotta pretty much hate Adam because he seems to have it all, I can never fi gure out what these guys are doing in the music business, talent, looks, voice, writing skills, artist-rep savvy, what the heck are the middle of the roaders like myself going to do if I have to compete with these cats, anyway, Adam did a masterful job at assembling this seven piece group and you’ve got to beg your t’s been a while since I wore a skinny tie favorite club to book Mod Lewis soon before they but when Sweet Juice front man Adam hit the road to success. IEast asked me if I wanted to join in the fun Mod Lewis is Adam East – guitar, vocals at the inaugural Mod Madness 2003 mod-strava- (Sweet Juice, Jesus Presley), Tim Herms – bass ganza what else could I say but yeah, groovy. For (Sweet Juice), Kris Deelane – drums (Sweet Juice, those of you who don’t remember that head fi rst, Adam + Kris), Rich Landar – organ (Jesus Presley, lets not get fooled again, birth of the mop-top King Black Acid), Menny Dellor –lead guitar (Tues- (these days known as the pre-gray Denny), bell day’s Taken, The Bossa Boys, The Menny Dellor bottoms a fl yn’, mini skirts I’m eyen’, club focused Band), Kyle O’Brien – saxophone (Jesus Presley), pop scene complete with Vespas, pointy-toed James Gregg – trumpet (Rubberneck, Jesus Pres- boots, pegged pants, defi ant angry undisciplined ley). E-mail Adam at [email protected] British youth taking out their frustrations on Stereo Crush lit up Nocturnal March 14th at guitars with names like Framus, Vox and Kay, I yet another Conspiracy Theory CD release blow feel sorry for you. out. Front man Johnny Crash didn’t crash and This was a time that has come, gone and burn when his mike sank into distortionville on reappeared several times because it will always the fi rst song played out to a packed house at this refl ect the true basic sentiments of rock and roll 18th and east Burnside song writers and musicians. The sixties was the fi rst era when youth cultures realized that they needed their own movement to be respected as “Club focused pop scene complete with a potentially powerful social group instead of the cutesy well behaved preppy parent-clones they Vespas, pointy-toed boots, pegged pants, were expected to become. So the unruly British youth street scene used defi ant angry undisciplined British youth rock and roll as their battle cry of change, and blasted a major warning shot across the bow of taking out their frustrations on guitars society world wide. Fired directly out of the smoky, loud beer halls and clubs in England, Germany and other post-war damaged cultures that were with names like Framus, Vox and Kay.” rebuilding new and “modern” ideas in fashion and form, the Mod scene developed and took Showcase venue. The new CD entitled “like hold world wide. a girlfriend” is another sweet piece of work by Nothing this strong had ever united the photo Wendy Peyton Portland master producer/musician Tim Ellis. With only fi ve cuts this album hits hard and shows young before nor since despite many attempts Adam East at Mod Madness 2003. by big record companies who saw great profi t and all the fi nely honed skills the band, producer and commercial opportunity. But as with most youth Show date. Mod fashion was the look and it’s band management possess and the Nocturnal based social change by the time a formula could a good thing no one tried the Austin Powers ver- showcase was equally produced for success which be perfected the focus had disappeared or been sion because they probably would have gotten their was most self evident by the fact that the place replaced as in this case by the more laid back anti- royal prissy arse’s thoroughly booted by the con was packed with Crush fans wall to wall as a result war stoner hippy-peace-mood based scene in the regulars, but no mod gig would be complete with- of great press management by Dawn Dunkle of states which develop later in the decade. out bouncy mini skirted go-go dancers elevated on Conspiracy Theory Music. For more Stereo Crush Mod Madness 2003 took place at the one and stage, arms a fl ailing and long pony tails swirling news, Contact Dawn at www.conspiracytheory only Satyricon of course, what other club would out from their heads stirring up more dance action music.com do? A line of Vespas greeted you out front, and of than this usually “stand and look” punk club has course Oregon supplied the perfect misty spray of seen in quite a while. Have a groovy day! northern England drizzle as could be expected on Two other combos helped out, Star Collector this march 15th from Vancouver BC headlined at the end of the LL
Page 10 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 11 ends abruptly, bursting like a bubble as the instrumental “The Apollo Room” begins, with 2 - All Girl Summer Fun Band chiming guitar harmonics ringing like bells on a K Records crisp spring morning, as Sheehy wordlessly calls he Donna’s these women ain‘t, but out across the musical countryside. The guitars the Soft Donnas, maybe And per- Continued from page 9 build to a crescendo before the cycle repeats. A Thaps, in some ways (thematically), Plouf’s contribution to the Spinanes, Brown’s ghostly piano theme hovers against sputtering they are the anti-Sleater-Kinney (while sound- awe-inspiring drum work integrally drives every drums, giving way at the end, before the thread ing a little bit like them, at the same time). But, song, with a Stewart Copeland-like authority. is picked up by the drums in the next song, whatever the case, AGSFB are defi nitely a kick, This is not to say that Sheehy is any slouch on “Objects Designed To Conserve Space.” in a Jane Weidlin-fronting-the-Go Gos sort of guitar. With the benefi t of multiple overdubs, A churning beat, jagged chords and an off way- though this band is a lot more sarcastic their sound is thick and complex. These guys the cuff vocal are very XTC-ish. Brown’s relent- and not nearly so stuck on themselves. ‘50s and are way beyond competent. Having carved out less thrashing of the drums are the primary ‘60s girl-group harmonies echo through several a sound of their own, they explore a wide variety motivation on this, another mostly instrumen- songs on this, their second album for K Records. of musical forms. tal number. This gives way to “Kicking And Nothing groundbreaking here, but it it’s all con- Byrdsian vocal harmonies abound on Screaming,” a skittering contrapuntal jig, that sistently entertaining and- well- fun. “Trigger/Response,” a straight-ahead rocker. A spins deliciously in the inspired middle section. Guitarist vocalist Jen Sbragia was perform- ing in the popular duo, the Softies, with ex-Tiger “As the band’s promo material points Trap guitarist/vocalist Rose Melberg, when she out, the Russian word sputnik means was approached by guitarist/vocalist Kim Baxter, who gave Sbragia a tape of songs upon which ‘traveling companion.’ That is an apt she had been working Sbragia was impressed sentiment for the explosive talents of with Baxter’s songs. She contacted Baxter, who mentioned that she had several musically like- Gravity and Henry.” minded friends. Among those friends was Kathy Foster, who plays drums, bass, guitar and sings, Police-like interlude, reminiscent of “Everything Incontrovertably powerful. and who had already found success as a member She Does Is Magic” initiates “Full Minute Figure,” Another waltz, “New Spanish Dictionary,” is of the Sub-Pop band the Thermals, with Hutch before the song evolves into a Big Head Todd and played fairly straight by Brown, who adds some Harris, as well as in the duo Hutch and Kathy. the Monsters sort of song: melodically earnest, nice jazz fi lls at the turns, but mostly sits back, Another of Baxter’s friends, bassist/drummer/ emotionally subdued. Brown cuts through the in the dappled melancholy light cast forth by vocalist Ari Douangpanya, became the fourth 3⁄4 time signature with incredible inventiveness, Sheehy’s death-spiraling guitar riff. “Backyard member, and the band was born through to the intense conclusion. Epiphany” is a whirling satellite of a piece that A little over a year ago, they released their Some strange time signatures twine briefl y crosses the sky of one’s perception before fi rst, self-titled album. Now they’re back, bigger through the tightly wound “March 4th,” creat- blinking out of view. and badder (and a little more electric) than last ing a sense of foreboding and darkness, evoca- As the band’s promo material points out, time, with fourteen new songs, which manage to tive of OK Computer period Radiohead. Brown’s the Russian word sputnik means “traveling capture the essence of “girl groups,” going back ever-shifting, syncopated drum work, impacting companion.” That is an apt sentiment for the to the ‘50s, to such acts as the Bobbettes, the like gunshots through the course of the song, explosive talents of Matt Sheehy and Jarhid Caravelles and Patience and Prudence, through machine gun fi lls and thunderous cannon vollies Brown. Sheehy’s talent is especially admirable, the ‘60s, the Ronettes and the Shirelles, to the in the verses, lead the attack. as he is able to keep from being overshadowed present. As previously stated, as a band, these A droning, Middle Eastern fl avored riff is by Brown’s truly incredible drum work. women don’t rock as hard as the Donnas, but the propulsion behind “Wellbutrin,” as Sheehy It’s not clear if this band will be able to in reality, AGSFB are far closer to the musical creates an Andy Partridge like mood with Who- pull off a live show, using a computer as a third tradition of “girl groups” than the Donnas will like overtones, with his modal guitar intonations member. Bringing a real bass player on board, ever be. and brusque vocal assiduity. “Lullaby Song,” is a one with the same level of skills and competency The album starts off with “Dear Mr. & solemn march, with-banjo like guitar riverboats as these two monster musicians demonstrate, Mrs. Troublemaker,” a song which begins with sailing on shimmering, watery percussion. “Shit would make of this band one of the best power a spoken-word section (ostensibly, a typed letter For Laughing,” features angelic three-part har- trio’s anywhere, ever. While lyrically it is not clear to a boyfriend’s parents), reminiscent of the monies and reverent vocals over an (eventually) what it is Sheehy has to say, he delivers his vocals hard-hitting drum fusilade. The middle section dissolves into rippling puddles of echo-gener- “The Donna’s these women ain‘t, but the ated sounds, swirling and eddying, slowly build- Soft Donnas, maybe And perhaps, in some ing back to the chorus. The Verve comes to mind on this song. ways (thematically), All Girl Summer Fun “Sinkful Of Rust” balances upon a moody Band are the anti-Sleater-Kinney.” piano setting and the relentless waltzing carousel of Brown’s drums, as Sheehy’s voice mournfully with passion and conviction. And while there Shangri-las’ “Leader Of The Pack.” Soon enough, resonates upon a sad song- like a modern update may not be any “hit singles” here, the music is however, the song explodes into a power guitar of the Moody Blues’ “Nights In White Satin.” always thought provoking and jaw-droppingly number, more in line with Throwing Muses, the Trip Shakespeare comes to mind in the well executed This is a great young band. soulful “Emergency Exit,” a rousing chant that Continued on page 27
Page 10 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 11 Page 12 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 13 An Unreel World powered by Hafler, Parasound Lake Oswego and Oz Audio. (503)639-9364 Microphones: Neumann Email: [email protected] U87s, 47s, 49s, KM 88s, U Owner: Karin Kopp 69s, KM 84s , custom modi- fied by Klaus Heyne Classic Anonymous Noise mics from RCA, AKG, (503)248-2136 Sennheiser, EV, Shure, Beyer Owner: Karl Brummer and Crown. Reverbs: classic EMT 140ST Apache Recording Studios Plate, with tube electronics, 4009 E. 18th St. the only one in the NW. Vancouver, WA 98661 Lexicon PCM 60, PCM 70, Vancouver phone: (360)694-5381 PCM 90. Yamaha SPX 900 Portland office: (503)293-9266 multi-effects. MasterRoom XL305 spring ‘verb. APA Studio Signal Processing: TC elec- Mollala, Oregon tronics 2290, Urei 1176 LN (503)730-5347 peak comp/limiter ,Urei LA3As, Mics: Owner:JR Boykin LA 22. Lexicon 97 Super Prime AKG, Audio Technica, Shure, Engineer/Producer Smokey Time Line DDL, Drawmer 201 dual Octavia. Leslie; Pearl and Slingerland drums; Wymer(503)760-3918 gate, SX 201 and SE-400 parametric Client list:Network TV: Dark Angel Vox AC-30, Gibson GoldTone, Rates: New Band Demo special * EQ. 4 DBX 160X Compressor/ (wb)the Young And The Restless Rivera, Line 6 guitar/bass amps. 5 hrs for a hundred bucks*$30 hr Limiters. Ax Compellor stereo (Cbs), Nfl Under The Helmet(fox), Too many synths and MIDI tone additional time. compressor/leveler. Ax Type C The Mattew Sheppard Story (nbc); modules to list. Use our Pro Tools or Roland exciter. Lexicon JAM man DDL/ Cable TV: Inside The Nfl (hbo) Notes: Designed by Russ Berger, and Mackie setups. 24+tracks. Sweet sampler/looper MIDI setup with Sportscenter (espn), True Hol- built to his exacting specifications, Mics & Outboard Gear. Use our Roland D550, R-8M, Korg M1REX,. lywood Story (E!), Wild On (E!) Crossroads Productions is the area’s engineers or bring your own. Triton Korg 800EX, Emu Proteus 2, OB Celebrity Profile (E!); largest dedicated recording facility. 88 workstation/sampler. Roland Matrix 1000, Yamaha TX81Z. Syndicated TV: Extra, Access Hol- The distraction-free environment Vdrums. Fender Cybertwin. Partial list of labels & artists: Wind- lywood, National Enquirer, The Riki is especially conducive to creativ- ham Hill, Narada, Sugar Hill, Hearts Lake Show; ity. Due to the acoustically accurate Big Red Studio of Space, Green Linnet, Nightnoise, Commercials: Jolly Rancher, Coors control room and PMC monitors, Corbett, Oregon John Doan, Alasdair Fraser, Kevin Light, Crossroads has also become a favor- Producer/engineer: Billy Oskay Burke, Martin Hayes, Hanuman, Whatever your needs, Ronn Chick ite Mastering facility used by other 2nd Engineer: Jordan Kolton Johnny Connolly, Alan Jones, Recording is a full service facility local studios. web site: www.bigredstudio.com Portland Acoustic Guitar Summit, capable of providing demo record- Clients: Wayne Krantz, Bobby e-mail: [email protected] Dave Carter/Tracy Grammer, N’ ing, orignal composition, digital Torres, Gary Ogan, Jon Koonce, phone: (503) 695-3420 Touch Band, Rhythm Culture, Sugar editing, and post production assis- Anne Weiss, Brett Williams, One Unique package rates and financing Beets, Tom May, Jim Page, Gino tance for all your needs quickly Shot, Sky View HS, Prairie HS, of projects. Vanelli, Chris Lee/Colleen Obrien, and affordably.Please call for rates. Facilities: 18 X 28’ performance Cold Mountain, Steve Pile, Taarka, Woodland HS. space which can be divided for Everything’s Jake, Beppe Gambetta, Crossroads Productions Dave’s Attic Productions isolation. Ceilings vaulted to 17’. Dan Crary, Belinda Underwood 7708 NE 78th St. Washington Square Area Yamaha C7D grand piano, C Fox with David Friesen and Airto. Vancouver, WA 98662-3632 Portland, OR Napa acoustic guitar, and 1902 (360) 256-9077 (503) 768-9336 Estey harmonium. Blue Dog Recording Web: www.crossroadsproductions.net Owner: David Fleschner 17’ X 24’ control room Isolated 1314 NW Irving Email: [email protected] machine room Coffee bar/Lounge Portland, OR 97209 Studio Manager: Ron Stephens Dead Aunt Thelma’s Studio area. Available organic catering. (503) 295-2712 Studio Assistant: Danielle Jenkins PO Box 82222 Horseshoes, campsites, fire circle Email:[email protected] Engineers: Paul Ehrlich, Craig Portland, OR 97282-0222 and hiking trails on property. Sight- Web:www.bluedogrecording.com Smith (503) 235-9693 p seeing, fishing, restaurants, and Owner: Bruce Robertson Tracks: ProTools HD 192 w/24 I/O (503)238-9627 f lodging nearby. and lots of plug-ins; Otari 2” 24 and Web: www.thelmas.com Equipment: Otari MTR 90II 2” Ronn Chick Recording 3M 1/2” 2 trk. Studio Manager: Mike Moore 24-Track with autolocator, Fostex 1209 NW 86th Circle Equipment: Neve 5315 console; Office Manager: Nicole Campbell 22 1/2” at 30 ips 2 track, Mac G4, Vancouver, Washington 98665 Focusrite, API, Manley and Altec Owners: OCP Publications Pro Tools, Digital Performer, Otari (360) 571-0200 mic pres; URIE, Spectra Sonics and MX5050 1/4” 2 track, Panasonic sv Owner/Engineer: Ron Chick Smart Research limiters; AKG, ATM, DeFunk Audio/Sonare Mastering 3700 DAT Nakamichi MR1, Tascam Equipment list: Recording: 48 input CAD, EV, Microtech-Gefell, Oktava, 4531 N. Albina Street 2000 CD-RW. amek angela,Mac G4 daul 850,Digi- Rode, Tracy-Korby, Shure, Sounde- Portland, Oregon 97217 From England, hand wired Trident tal performer 3.1 24 bit 5.1 ready,16 lux mics; Lexicon 960L, Eventide, (503) 288-3353 TSM 40 input, 32 monitor, 24 bus. channels Alesis adat. and TC Electronics effects. PMC Email: [email protected] The sound is big, warm and very Monitors: Mackie. and Yamaha monitors. Call or write Owner/Engineer: Sean Gilbert analog. Outboard gear: Avalon.Focusrite,C for exhaustive equipment list. Monitors: Audix Nile V, JBL, ranesong, Symetrix, Urie/JBL, Lexi- Instruments: Yamaha C5 grand w/ Yamaha NS10s, Auritone and AKG, con, Roland, Sony, TC electronics. Gulbransen midi mod; B3 w/ 122 Continued on page 14
Page 12 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 13 trk., Sony video monitors 13” & 20”, Fostex 4010 SMPTE, Symetrix TI-101 phone patch, Telos Zepher ISDN patch & a Braun 10 cup coffee maker. Clients: Sony, Disney, PBS, Mason Williams, Beth Singer, Justin King, Sugar Beets, Paul Chasman, Continued from page 13 Byron Berline, Strangers, Multiple Doctor Digital; The Sync Ward Sarcasm, Betmars, Babe’s with Axes, Studios Terry Robb, David Jacobs-Strain, Portland, OR T.R. Kelley, Debbie Diedrich, Boogie (503) 892-0043, 1-888-373-4485 Patrol, Tracy Bonham & many Email: [email protected] more-check out web site music Owner: Mark Frethem client list at www.donrossproducti ons.com. Don Ross Productions 3097 Floral Hill Drive Falcon Recording Studios Eugene, OR 97403 15A S.E. 15th (541) 343-2692 Fax: (541) 683-1943 Portland, OR 97223 Email: [email protected] (503) 236-3856 www.donrossproductions.com Fax: (503) 236-0266 Owner/Engineer: Don Ross Email: [email protected] Tracks: 32 track Digital, 24 track Contact: Dennis Carter. Analog Rates: $70.00-$85.00 Freq. Mastering Equipment: Otari MTR90 II 24 1624 SW. ALDER #311 track 2‰ Analog, Digidesign Pro PDX, OR. 97205 Tools Mix + w/ 3-888 24 I/O’s, SSD, (503) 222.9444 Waves gold bundle, Bomb Fac- Web: www.freqmastering.com tory, Meek & many other plug ins, Portland’s Pro Mastering Studio 24 trk. Tascam DA-88’s- mods by Contact: Ryan Foster Audio Upgrades w/RC 848, SY88 Equipment: Sadie Artemis 24/96 & IF88AE, Tascam DA30 MkII, Mastering System, DCS904 24 Fostex D-10 Time code DAT,Tascam bit A/D & DCS954 24bit D/A CD-RW5000 CD recorder, Revox both 192KHZ & DSD capable, PR-99 MkII & B77 1/2 track Apogee1000 A/D & D/A, Cranesong analogs; Tascam M-3700 32x8 auto- Hedd 24 bit A/D &D/A , GML 9500 mated console w/mods by Audio 5 band Mastering EQ, Weiss EQ1 Upgrades; Genelec 1031,Tannoy MK2 digital 7 band parametric, NFM 8, Yamaha NS-10, & Aura- Manley Vari-mu stereo compres- tone 5C monitors; Aiwa, & Tascam sor, Weiss DS1 digital split band cassette decks; Lexicon PCM 80, TC dynamics processor, Maselec stereo M2000 LXP-1’s, LXP-5’s w/MRC compressor, Genelec monitors, THERE’S SOMETHING ABOUT & Yamaha SPX90’s reverb/delays; Mike Spitz ATR 100 1/2” Master- Manley ELOP, Manley Vari-Mu, ing deck, Tascam DA 45R 24 bit Aphex 661’s,106, & 720 Dominator Dat Machine, Panasonic 3800 A SONG Dat machine, Dennon cd player, It transcends music theory and the science of sound. Regardless of style, II, Drawmer DL24, Ashly SC-50 it touches a part of the human soul that effects mood, thoughts, feelings... comp/limiters; BSS DPR-504 & Dennon cassette decks, Mytek our lives. People who create music understand that better than anyone. Aphex 105 Noise Gates; Aphex digital Mastering meter, Z-Systems Aural Exciter, Aphex 109 & Syme- 16 i/o digital router. But it can be difficult to capture inspiration so the song you hear in trix SX201 parametric EQ’s; Avalon Clients: Sony, Loosegrove, Sub Pop, your head is what you hear on your CD. That’s what Crossroads 737SP’s, Millennia HV-3C, Neve Astralwerks, FT Records, Resistor, Productions is all about... we offer an atmosphere conducive to creativity, Shortwave Records, Estrus, Elemen- the equipment to capture it, and the commitment to get it right. 1272’s (4), Peavy VMP-2, Gaines MP-2 mic pre’s. Mic’s: Neumann tal, T/K Records, Top Secret, Darla, U87’s (mods by Klaus Heyne), Rain Records, Burnside Records, KM84’s(mods by Kaus Heyne), Jus’ Family Records, Bombay Lawson L-47MP tube, AKG 460’s, Records, M.A.H. Records, Empty 451’s, Sennheiser MD 421, EV RE20, Records, Dohnut Records, Rainfor- 408B’s, Shure SM7’s, SM53’s, & 57’s. est Records, Cool Nutz, Satan’s Other Important Stuff: 1927 Stein- Pilgrims, Jesus Presley, Silkenseed, Because Your Music Deserves It. way M grand piano, Kurzweil PC88 Chata Addy, Gino Vanelli, Land of Call or email to schedule a personal studio tour. See what the buzz is all about! MX, Ensoniq EPS, Opcode Studio the Blind, Ken De Rouchie Band, Studio manager: Ron Stephens 3, JL Cooper PPS-100, dk10 KAT, Hungry Mob, Life Savas, Live at Studio assistant: Danielle Jenkins Alesis D4, Pre CBS Fender Super Laurelthirst, Izaya, Heavy Johnson 7708 NE 78th Street • Vancouver, Washington 98662 • (360) 256-9077 Reverb, Zoom 9050, JVC CR-85OU Trio, Daylights, Hummingfish, email: [email protected] • www.crossroadsproductions.net 3/4” video deck w/SMPTE address Kerosene Dream, Loveload, Jol-
Page 14 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 15 lymon, Gus Van Sant, Systemwide, Grindstone,Floater, Countrypoli- Gung Ho Studios tans, Here Comes Everybody, Mel, 86821 McMorott Lane E-40, Sally Harmon, Rattling Thun- Eugene, Oregon 97402 der, Dickel Bros, D.B.A., Ras Kass, (541) 484-9352 Kurrupt, B-Legit and many, many, Owner: Bill Barnett more.(Please check out our website for a more complete list). Haywire Recording Southeast Portland Fresh Tracks Studio P.O. Box 66381 PDX OR 97290 1813 S.E. 59th 503-775-7795 Portland, OR 97215 Email: [email protected] (503) 235-7402 Web: http:// Email: [email protected] www.haywirerecording.com Web: http://www.freshtracksstudo.com Engineers: Robert Bartleson Owners: Jon Lindahl Tracks: 8/16/24 tracks, Analog or Engineers: Jon Lindahl and Casey Digital Spain Services: Live & Remote Recording, Tracks: 32, 24, 16, & 8 ( 24 tracks Free-Lance, Engineering and hard disk) 16 tracks of digital & 16 Producing, In-house Studio Record- tracks of analog) ing, CD Mastering Rates: $40 for 32 track, $35 for 24 Specialties: Remote Recording & track, $30 for 16 track, & $25 for Producing 8track. Rates: Live & Remote recordings: Equipment: 2 each XT Alesis individual quotes; 24-track ADATS, Analog 1” MS-16, recording: $25/hr or ask about Hard Disc, Cubase w/Mark of block rates. Freelance engineering the Unicorn 2408 (Multi Track $25/hr + studio costs. recorder/automation/remastering), Equipment: Compressors; GML All synced via JL Cooper Syncron- 8900 stereo peak limiter, Urei 1176 izer, Pansonic CD Burner, 24x8x2 compressor/limiter, (3) DBX 160x Soundcraft Mixing Console, ART compressor/limiters. MPA dual tube mic pre-amp,DBX Microphones; Neumann U48 tube 266 Dual Compresor/Gate,DBX, mic, (2) Neumann KM 84, (2) 160x, DBX 163x Compressor, AKG 414 ULS, (2) AKG 460, AKG Dbx163 Compressor, Biamp Quad D112, (6) Shure SM 57, (4) Limiter/Gate, DBX 463x Gate, Sennheiser 421, Beyer M260 Yamaha 31-band EQ, Biamp Dual Ribbon, Shure 55s. Tape Machines; 10-band EQ, Rockman Guitar Panasonic SV3700 DAT, Tascam 48- preamp, Rockman Stereo Delay/ B 1/2” 8 Track Recorder, (2) Chorus, Roland SRV Reverb, Tascam DA88, Tascam 122MKII Roland SDE 1000 Delay, Art SGE cassette deck. Effects; Lexicon Mach 2 Effects Processor, Alesis PCM 42, Yamaha SPX 900, Yamaha Midi Verb, BBE 802 Exciter,JBL SPX 90, SONY MPS, 4311 Monitors, Auratone Monitors, Huges Sound Retrieval System. KLH Monitors, Panasonic 3700 Misc: 8 Channels of API 550A Mastering Machine, Otari Analog EQ‚s, (2) Neve split Mic Pre/EQ, 1/2 Track Mastering machine; V/T Tube DI. Amplifiers; Ampeg wide selection of mics: (AKG, Portaflex B-15 bass amp, 60’s black RODE, SENHEISER, E.V., SHURE, face Fender Pro - Reverb, BYER, AUDIO TECHNICA) MIDI 1973 Marshall JMP head with 60’s EQUIPMENT: Mac G-4 w/CUBASE Cab, Vox Royal Guardsman, VST 32 5.1 Proteus 1 Sound Vintage Supro Guitar amp. Moni- Module, Yamaha TG100 Sound tors: Yamaha NS-10 Studio. Module, Zoom RT -123 , ESQ-1 Clients: Wilco, Skiploader, Desert Keyboard, Casio Midi Guitar City Soundtrack, 30.06, Eric Clients: Vivian’s Keeper, LaRai, Mathews, Pond, Adam Wade, Fran Gray, Brock Noyes, Genevieve Scribble, Slackjaw, Suplex, Woke Goodell, John Myers, John Hoff- Up Falling, Avenue of The Stron- man, David Graham, Poison Okies, gest, Pedro Luz, Andi Camp, Jen Jonathan Berman, Al Pasque, Marc Wood, Trophy Wife, Gruesome Hansen, Sidekicks, Little Joe, Cory Galore, Tommy Tutone, Everclear, Brunish, Dixie Party Jazz Band, Bill Audio Learning Center, Mel, Petal, Deiz, Enuf, Chris Harris, Kevin John- Intifada, Flophouse Palace, Loligo, son, Al Pasche, John Skank, Savy, Ken The Reports, The Kremlin Bronx. Vigil, The Worthingtons, Les Ouvier du Christ, and Christine Young. Continued on page 18
Page 14 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 15 God bless the Brits. sound like the work of some genius burnout from Demographics. The UK’s super hip Mojo magazine voted the early Seventies, deftly merging surrealist verse (Ed note: We should pause in this litany of Portland’s Greatest Hit “Louie Louie” by the and Malkmus’ sumptuous guitar ramblings. Kingsmen #1 on their Ultimate Jukebox of The Sandwiched between these mini-epics are 100 Singles You Must Own. some of Malkmus’ prettiest songs ever…” The runner-up was some guy named Elvis. According to Mojo “The Kingsmen’s exalted 8 8 8 position in this list only serves to emphasize pop’s glorious democracy: the hand of inspira- Chartbusters… tion can land on anyone’s shoulder at any time, Everclear’s Slowmotion Daydream anywhere.” leaped 167 chart positions to enter Bill- board’s Top 200 Albums chart at # 33 in The hand lands often in Oregon. the fi rst week. (3/29). Rolling Stone pictured EC with the The mighty Mojo also loves Portland’s Ste- Hits magazine album chart showing Slow- phen Malkmus. motion Daydream entering at #26. Giving four stars (“Splendid! The best of “A Tonight Show With Jay Leno its kind”) to Pig Lib on Domino Records (UK), performance and a headlining spring tour Victoria Segal gushes, “For such a famously liter- helped the alt-rock trio’s sixth album sell ate songwriter, Stephen Malkmus has always been 39,590 copies its fi rst week.” intriguingly hard to read. While it’s easy to picture The second single “The New York him as the liberal arts professor of underground Times” hits radio April 7th. rock, amused and curious at the antics of the young “The New York Times” is one of the people, surrounded by a litter of small-press paper- songs on the album influenced by the backs and arthouse ticket stubs, his commitment murders of Oregonians Ashley Pond and to raising the rock’n’roll bar-and his remarkable Miranda Gaddis. success rate at doing so-tells a different story.” “His post Pavement debut 2001’s Stephen It makes no sense to me Malkmus, was a conspicuously charming record, I was living in a different world silver tongued like an excellent dinner party guest, When I heard the news quick with a dig at dance music or a tale of Turk- ish pirates.” I keep on having the same bad dream “Malkmus is keen to stress the role of his And it makes me want to hurt all the people band, The Jicks, and drummer John Moen, bass- Who have done this thing to you ist Joanna Bolme and second guitarist Mike Clarke impressively channel these complex songs.” When I see your face “Behind the Scrabble-dictionary vocabulary I can see you smile and patrician air, there’s a man enjoying his own I read all about you in the New York Times peculiar talents in his own peculiar way…” Art thinks things are going to get worse Pig Lib is also huge in the US. before they get better. “…And as the father of a 10-year old girl, I think about those Pig Lib jumped to #5 on the Billboard Top girls who got abducted in Oregon City, 20 Stephen Malkmus 50 Independent Albums chart the fi rst week. The miles from where I live. What would I do album also debuted on the BB Top 200 at #97. if my daughter didn’t come home? I’d be in Entertainment Weekly’s Will Hermes (3/21) a place of madness.” praise to give credit to Everclear’s PR team at the gave the album an “A-“ under the headline “On USA Today gave 3 stars out of 4 for his pain. Mitch Schneider Organization, 14724 Ventura Pig Lib Stephen Malkmus’ trademark cleverness “Everclear offers fresh evidence of self- Blvd Suite 410, Sherman Oaks, California 91403 elevates prog-rock to a new level of hipness”. imprisonment in a formula of grunge-seasoned without whose help none of these publications “Stephen Malkmus is indie rock’s Jack Nich- pop-punk. That might have invited scorn in would have a clue) olson: a guy whose insouciant faculty is so great he another era, but these days, it’s a merit badge that need only arch a musical eyebrow to entertain.” elevates Everclear above the aimless army of rock Everclear is on the road and will return to Rolling Stone’s Christian Hoard (4/3) gave wannabes with borrowed blueprints and blurred Portland for two shows at the Roseland Theater Pig Lib 4 stars (Excellent) and reminded that “Back identities.” May 21-22. Tickets on sale at Tickets-West 503/224- in the nineties Courtney Love aptly pegged Stephen People magazine picked Slowmotion Day- 8499, www.ticketswest.com Malkmus ‘the Grace Kelly of indie rock.’” dream with a large black & with photo of the band “Touched with more than a hint of prog-rock and Craig Montoya fl ashing his black tee with “East 8 8 8 weirdness, songs such as “Do Not Feed The Oyster” L.A.” emblazoned in white letters.
Page 16 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 17 The future of Country... turing Tom Grant, Michael Allen Harrison, Brian Hofeldt of the Derailers graduated 8 8 8 Ron Steen, Phil Baker, Patrick Lamb, Dan Balmer, Mary Kadderly, Rebecca Kilgore No fi sh story… and Valerie Day. Like a giant sturgeon at the bottom of 7:00-8:00PM The Bobby Torres Ensemble our talent pool Gino Vannelli has lived and 8:30-10:00PM Pink Martini recorded here since the 80’s without creat- ing a ripple on the surface of the Portland Go to sleep, get up, have breakfast and head music scene. back to the Convention Center for more great He skipped the gigs at Key Largo, free music. built a world-class home studio and made albums for Epic and Verve. Saturday, April 19th Billboard says his new album Canto 12:00-1:00PM Little Sue out on RCA in July could be “career-defi n- 1:30-3:00PM Obo Addy ing work”. 3:30-4:30PM Portland Taiko The Prince of Synth-Pop had a string 5:00-6:00PM The Blues Allstars featuring of top 40 hits singles including “People Terry Robb, Paul deLay, Carlton Jackson, Gotta Move,” “I Just Wanna Stop” and Lloyd Jones, Linda Hornbuckle, John Maz- “Living Inside Myself” zocco and Janice Scroggins According to the Billboard story, after 6:30-8:00PM Quarterfl ash getting the go-ahead from RCA, over the 8:30-10:00PM The Cherry Poppin’ Daddies next year “Vanneli constructed the album at his studio in Portland, Oregon with More chops than a Kung Fu movie. arranger Glenn Morley and engineer Quarterfl ash hasn’t been seen since the benefi t Rick Duncan, utilizing state-of-the-art for Kenny Sawyer last November when they fi nally computer technology and 25 musicians.” got their guitarist Doug Fraser back from Valdosta, Gino plans a fall tour during which Georgia where Doug sold real estate and his wife he will perform his vintage hits. taught at Valdosta High School, “the winningest high school football program in the nation”. 8 8 8 Go Wildcats. At the Convention Center gig Pink Martini Royalties… will be previewing material from their new album That’s what a girl wants. Meredith and the Cherry Poppin Daddies will be celebrating Brooks landed a song in the Warner Broth- their recent plug in Rolling Stone. ers movie “What A Girl Wants” starring The Oregon Jazz Allstars on Friday teams Tom Amanda Bynes. Meredith’s tune “Crazy” is Grant and Michael Harrison who are fast becom- in the fi lm and on the soundtrack album. ing the fusion Ferrante & Teischer. Grant and Her album Bad Bad One will be Harrison are also co-headlining the Ten Grands Concert at the Arlene Schnitzer Hall, Saturday, released in Holland, Belgium and Ger- th many in May April 19 with eight other pianists. “Ten pianists playing simultaneously on ten 8 8 8 pianos on one stage!” The Tom & Mike Show… Stephen Malkmus Historical freebie. photo Buko The Oregon Convention Center is In the old days, it was the Tom & Jeff Show. from Portland’s Cleveland High School and celebrating the grand opening of the new expan- remembers his dues years playing the Satyricon sion with two days of the biggest names in local When Portland’s original music Jazz Scene was with his band Naked Lunch. He and fellow Derailer original music. A gaggle of gold and platinum acts on the east side of the river on northeast Broadway Tony Villanueva of Albany, Oregon moved to Texas of the present and future, for nada. at Ray’s Helm it was Tom Grant and Jeff Lorber in ‘94 and set about to become Austin’s favorite I kid you not. pounding it out for keyboard dominance. Jeff got band. You must have had some pull to get on this a deal and moved to Los Angeles but didn’t forget They made it. bill. his homies and helped Valerie Day and Nu Shooz Touring in support of “Genuine” their second get a gold album with Atlantic in ’85. album for Sony/Lucky Dog, the Derailers play Music Friday, April 18th Jeff Lorber has become an artist and producer Millennium Northwest April 13th at 2:30PM Noon-3:30PM The PCC Jazz Band of some stature in the jazz world. One of his side- “We’ll be doing our Bakerspool-Liverfi eld 4:00-5:00PM Scott Fisher Project with Lea men did pretty well too, you may have heard of thing.” Says Brian. Krueger him. 5:30-6:30PM The Oregon Jazz Allstars fea- Continued on page 31
Page 16 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 17 demands) Miscellaneous: 4 ISI di boxes 1, Lawrence accoustic guitar pickup, Fender m-80 pro guitar amp w/4-12” cabinet, Big muff II Distortion Pedal, MXR distortion pedal, Digitech “talker” voice-synth pedal. Clients include: Dfive9, Hell Continued from page 15 Candidates, Jen Lane of Barfly Intersect Sound, Inc. Magazine, Tillamook County Fair Portland, Oregon in association with Starshine Sound, 503-649-7741 Rorschach Test, Stage Phryte, The E-mail: [email protected] Natrons, Witch Mountain and many Web: www.geocities.com/ other locals. intersectsound Other: Bill Cushman is House Owner/Engineer: Bill M. Cushman Engineer at Club Satyricon and he Intersect Sound Inc. specializes invites you to come in and say hello. in PA System Rentals for festivals, As owner of Intersect Sound, he small bars & clubs, civic functions, guarantees reasonable rates, profes- church & community events, pri- sional service and well maintained vate parties & dances, & DJ shows. gear—delivered, operational and ISI also provides live sound produc- on time! tion, recording and mastering with post-production and studio work. Interlace Audio Production Sound Engineers are available. 457 NE Birchwood Dr. Rates: PA System rent- Hillsboro, OR 97124 als go out as a unit, engineer 503-681-7619 included—see website or, contact Email: [email protected] [email protected] or Website: http://www.interlaceaudio. phone 503.649-7741 anytime for comOwner: Bob Crummett voice mail. Or between 1:00 pm and Contact: Kris Crummett 6.30 p.m. to speak to a person. Engineers: Bob Crummett and Kris For Live Sound recording: 1-2 Alesis Crummett Adats are available. The tracks are Rates: $25 an hour. then mixed down and mastered to Tracks: 64+ track Protools, 16 track DAT. The turnaround time is usu- adats, 2 track Dat. After It’s Recorded ally two weeks and the cost starts Equipment: Digidesign Protools at $200.00 for the whole package. HD1, Alesis Adat XT, Alesis Adat Get the Cover Made I also do studio work (subject to XT20, Sony PCM-R300 Dat, Mackie availability) at the rate of $20.00 per 24/8 Console, Mackie HR824 Moni- hour. tors, ART Pro VLA Tube Leveling Equipment: For PA System Rentals: Amp, ART Tube MP, ART Quadra/ For example PA system “A” consists FX, ART 355 Dual 31 band EQ, of the following: Console: Sound- Avalon U5 DI, Deltalabs Acousti- craft Spirit 16x4: Signal processing: Computer, Hughes & Kettner Tube- Yamaha Rev-7, Midiverb 3, BBE man DI, Line 6 Bass POD, Preson- 503/282-1682 sonic maximizer 322, Aphex aural ous Digimax, Various Stompboxes, exiter type B, 2 Alesis 3630 dual Waves Gold (all), Bombfactory (all), www.buko.net compressor/gates, JBl m644 4 chan- McDSP (all), Anteres Autotune, nel gate, DBX 1231 dual 31 band Digi-Design RTAS (all), GRM 1/3rd octave eq, 2 Alesis Meq 230 Tools (all), Metric Halo Channel- dual 31 band octave eq, Fender pcn- strip, Duy (all), T-Racks, Focusrite 4 stereo 3 way cross-over. Speakers: RTAS (all), Kind of Loud Realverb, 2 JBL active mid-hi packs, (l 15” & 1 Raygun, Serato Pitch and Time and 2”: driver with 1” horn each) 2 JBL more. active subs, (2 15’s, front firing & Mics: AKG D112, AKG D12E, ported each), 4 floor wedge moni- Audio Technica 4033sm, Audix D1, tors, (1 15” & 1 2” driver with 1” Audix D2 (2), Audix D4, Elec- horn each), 1 Yamaha drum fill, (1 troVoice 627b, ElectroVoice N/d 15” & 1 “ driver with 2” CD horn), 767a, Groove Tube 6tm (tube mic), Microphones: 4 Shure sm 58, 6 Modified Large Condensor Mic (2), Shure sm57, 4 Audio technica pro Shure SM57(3), Shure Unisphere 10, 1 Audio technica pro 25, 1 Shure PE56D-CN, Superlux CM-H8D 2 inch 16 track , 1/2 &1/4 inch 2track beta 58. Amps used include: Crest, (tube mic). Crown, Yamaha, SLM-RMA series Instruments: Tama Starclassic Per- & Yorkville AP series. (depending former Drumset, Roland TD-7KE +NEW 24 track digital hard drive on system configuration and power Electronic Drumset, Various Percus-
Page 18 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 19 sion (congas, bongos, and whatnot), rack, Trinity, MS2000R, etc.; Roland Musicman Stingray Bass, Alesis 5080, 1080 JP-8000, etc.; Quite a QS6 Keyboard, Rhodes Mark II 73, few others including Nord Lead and Marshall Lead 12, ART 80/80 Head, E-mu Virtuoso 2000 Marshall JCM 900 4x12 Cabinet, Some recent clients: UNIVERSAL Crown Acoustic 12 String, Gilbert and 2WAY RECORDS recording Baby Grand Piano. Artists Sassey and Ghetto Romeo; Clients: Sarah Blaisedale, Cas- Johnny Limbo and the Lugnuts; The cade Blues Association, Crosstide, Stragglers; Brenda Baker; Duelin’ Delivery, John Densmore, Doyal Sopranos; Bassoon Bros; Cool Nutz Tankington, Laura Duzette, Bryan and Jus’ Family Records; Hog Whit- Free, Jefferson Institute, Kinzel & man; Sawtooth Mountain Boys; Jeff Hyde, Christopher Marshall, Wayne Hudis (Hudis James); Madgesdiq; Meichsner, Mindset, Mute, Mykel, Carolyn Kardinal; WE Side Records; Nice Richard, Tom Noeson, Oliver, Kant Be Caught; DJ OG One Postal, Random Electronica, Regen- Productions; Kathy Walker Band; erator, Saturday Night Jazz Band, D-Five-9 Screamin Willies Dixieland Band, Stela, West of Zero, and more. Lion’s Roehr Studio 5613 S.E. 69th Jackpot! Recording Studio Portland, OR 97206 1925 SE Morrison (503) 771-8384 Portland, OR 97293 Email: [email protected] (503) 239-5389 Owner: Mike Roehr [email protected] www.tapeop.com Nettleingham Audio Owner: Larry Crane 888-261-5086 / 360-696-5999 Vancouver, WA(just minutes from J.A.S. Recording downtown PDX) P.O. Box 884 Web: http://www.nettleinghamaudio.com Beaverton, OR 97075 Email: [email protected] (503) 274-2833 Services: CD Mastering, Audio Owner: Andy Strike Restoration, CD Replication & short runs, graphic design, editing, etc… KAOS Recording, Mastering & CDR Specialties: CD Mastering/ Duplication Restoraton/Short-Run CDs Portland, OR Engineer: Kevin Nettleingham (503) 287-5066 Tracks: 128 Track Digital Hard Disk Owner: John Belluzz Rates: $50.00 per hour / 100 CDs - $235 Lemon Studios and Walter Midi Equipment: Digital Audio Worksta- www.lemonstudios.com tion: Digidesign Pro Tools | HD3 1424 SE 162 Portland OR 97233 24 bit & sample rates up to 192kHz, (503) 761-0964 Software Version: 5.3, Audio Hard Jon Lemon - Owner and Chief Drives: 306 gigabytes, Computer: Engineer Macintosh G4 800 w/dual moni- Email me at: recordingstud@lemons tors (cinema display and 20” VGA), tudios.com
Page 18 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 19 on a 1.0 GHz Intel PIII with 512 megs of ram and 80 gigs of storage), Dual Creamw@re Pulsar 96/24 DSP, Synthesis/Mixing platform (too many other audio programs to list) , Outboard: True Systems ‘Precision 8’ eight channel mic preamp, Lexi- con MPX-1 multieffects processer, Continued from page 19 ART Pro MPA tube mic pre, ART De-hisser, De-buzzer, Waves: L2 Pro VLA optical tube compressor, Ultramaximizer, Platinum Bundle, DBX 1066 stereo compressor/ DigiDesign; ReverbOne, Serato; limiter/gate, DBX Quantum Mas- Pitch-n-Time 2, Antares: Autotune tering Compressor, Otari MTR-12 3.0, Line 6: AmpFarm 1/4” Mastering Deck. Digital Routing: Z-Systems: 16x16 Monitors: Sundholm V8’s, Mackie AES Digital Detangler Pro HR824 reference monitors, Yamaha Syncronization: Aardvark: AardSync NS-10 reference monitors. Synthe- II, Sync DA sis: Roland XP-80 MIDI worksta- Data Back-up: Exabyte: EXB- tion , Ensoniq ASR-X sampler, 8700LT 8mm Alesis D-4 MIDI drums. Condenser CD Recorder: Plextor 8/2/20 mics: Soundeluxe U-95 multipat- Monitors: Meyer Sound HD-1 High tern tube mic, Rode NT-2 , Rode Definition Audio Monitors NT-1 (2), Audio Technica ,ATM35, Metering: Metric Halo Labs: Spec- AT-851a, AT-4041(2). Cardiod traFoo - Waves: PAZ Pscychoacous- Dynamics: EV PL-10, Shure Beta tic Analyzer 52, E.V. ND-868, ND-367 , Peavey 2 Track Players/Recorders: Tascam: PVM22 (2) , Cad 22 (2), Shure DA-45HR-24 Bit DAT, DA-30 MKII SM-57 (2). DAT, CDR2000 – CD Recorder/ Misc: Sony Spressa 24x CD Writer. Rewriter Marantz: PMD-321 CD AKG and SONY headphones, with AES and SPDIF outputs Furman Distributed Headphone - Nakamichi MR-2 Cassette, Vestax: system , Gallien-Krueger 800RB BDT-2500 Turntable bass amp with Eden 4x10 cabinet, Microphones: Soundelux: 2 x Conn Strobotuner, Marshall JCM- U95S - Microtech Gefell: UMT 70S 2000 guitar amp. -, Royer: 2 x R-21 - Neumann: 2 x Notes: No Moving Parts is a KM-184 - AKG: D12e -, Sennheiser: comfortable, low cost recording 3 x 421, 441 - ADK: 2 x A51s - environment with a friendly and Shure: 2 x SM-57, SM-7 knowledgeable staff. Providing A Few Of My Clients: Oregon Sym- exceptional sound quality with phony • Obo Addy • Swingline Cubs the kind of speed and flexibility Pro Video • Alfredo Muro • Lew Jones • Benny that only hard drive recording Wilson • Norman Sylvester • Allan can provide. Perfect for inexpen- Charing • Indigene • Mel • Perfect sive, great sounding demos or for in Plastic • Randy Porter • Headless budgeting the kind of time it takes Human Clones • Slackjaw • Moth- to complete a fully produced final Productions er’s Choice • Trophy Wife • The Cow product. Check out our website at Trippers • Blyss • 31 Knots • Starter www.nomovingparts.com for more Kit • The Jimmies • iknowkungfu • info. 25 years experience Feller • DFiVE9 • Gruesome Galore Clients: Recently - Nojeem Lassisi • Flying Heart Records • Ave. of the and Jujuba, Peer Pressure Full Broadcast Quality Strongest • Engorged • Logoseye Productions, Day Pass, Emberghost, • 44 Long • Headscope • Pacific American Barricade, Erotic Wonderland • Thy Infernal • Renato Politicans, The Blues Broads, Live Single & Multi-camera Caranto • The Bassoon Brothers & Hydroponic, Morse Code Heart- a lot more! beat, Divine on-location Production Noise Asylum, Patrick King, Naked No Moving Parts Todd, Step Beyond Deception, Performances - Weddings - Theater S.E. Portland (near Laurelhurst) Lipid, (503) 234-6410 Spindrift, Kaddisfly, Fusion Ball, Web: www.nomovingparts.com Whiskey Sinner, Chapter’s End, Conceptuals - Archives to DVD transfer Owners: Mark/Michele Kaeder Redline6, Hot Boxed Engineer/Producers: Mark Kaeder 503-248-9669 Tracks: 32 I/O Harddisk Recording Northstar Recording [email protected] Equipment: Recording: Yamaha 13716 S.E. Ramona ProVideoPDX.com O1V Digital Mixer, Logic Audio Portland, OR 97236 Platinum HDR software (running (503) 760-7777 Fax: (503) 760-4342
Page 20 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 21 Owners: Scott James Hybl, Curt ics processors Drawmer MX30 mixing console, Emagic Logic minute”. Satisfaction guaranteed. Cassingham compressor/limiter/gate, Vesta Koza Control Equipment: Sound Forge and Vegas digital delay, Aphex aural exciter... Microphones: (1) SE Electronics video 24bit DAW, PSP Vintage On Site Audio Monitors: Sundholm SL8.0 moni- SE5000 Tube (Neumann U87), (1) Warmer, PSP Mix Pack, Waves L2 A Diamond “Z” Records Company tors (2 pairs), Genelec 1029A w/sub Behringer B2 Condenser, (2) CAD Ultramaximizer, Lexicon PSP42, 16016 Lower Boones Ferry Road, monitors Yamaha NS-10 monitors, ICM 417 Condensers, (3) CAD Ozone Mastering, Yamaha O1V, Suite 5 Auratone monitors Hafler P4000, TSM 411’s, (1) CAD KBM 412, (2) Frontier Design 24bit 10channel Lake Oswego, Oregon 97035 P3000 power amps Avlex 58’s, (1) Peavey 57. Wavecenter, Apogee 1000 AD/DA, (503) 675-1670 Microphones: Neumann U87 (2), Processors: PreSonus MP20 tube POW-r dither, Digitech TSR24S, (503) 635-7335 Fax# Audio Technica 4033, 4050, 4051 preamp, various effects from vari- Fostex E2 1/4” analog with time Email: [email protected] AKG 414 B-ULS mic, AKG D112 ous manufacturers such as Waves, code, Earthworks Sigma 6.2 refer- Contact: Steve Landsberg (2) mics ADK tube, Audix D1, D2, Antares (auto-tune), Digidesign, ence monitors, Sony DTCA7 DAT, D3 (2), OM5 Shure 57 (4), 58, EV and others. Other external effects and a few A/V rated Ultra Wide Opal Studio ND757a from manufacturers such as DOD, SCSI hard drives for optimal per- 6219 S.E. Powell Others: Sonar XL, Steinberg Wave Boss, Zoom, Danelectro, Dunlop, formance. Portland, OR. 97206 lab 3.0, , M Audio 1010 24/96k, and others. Clients include: Beta-Lactam Ring 503-774-4310 Roland XV3080,Roland 303 groove- Monitors: KRK V6 pair, Alesis Records, Alien Eight Recordings, 503-777-5214 fax box, Alesis D4, Ensoniq TS-12 Monitor One with Alesis RA100 Ground Fault Recordings, Alluvial Email: [email protected] keyboard, Fender Strat, 5-string amp, Aiwa. (1) Pair Sony MDR- Recordings, Touch, Generator Web: www.opal-studio.com bass, Tele custom, Gibson Les Paul, V7000, (3) Optimus Novas, Rolls Recordings, Egg Shell Productions, Owner: Kevin Hahn mandolin, Marshall, Fender Deville, distribution amp Sowelu Theater, Chel White Films, Engineer/Producers: Kevin Hahn, Line 6 POD, Mesa Boogie V-2, Crate. Instruments: Martin DM acoustic, Dub Plate Tectonics, Soleilmoon, Vince Tognetti, Chris Stevens. Clients: Kerosene Dream, Jollymon, Custom Fender Strat, Hamer lim- Subterfuge Recordings, Banned Rates: $40/hour, block $35/hour, Stephanie Schniederman, Deen ited edition Archtop, Fender P-Bass Productions, Reverb Records. project $30/hour. Castronova, Mad Hattie, The Red Special, Epiphone Casino, Premier Equipment: Yamaha O2R digital Sector, Triple Double, Shrapnel 5-piece drum kit with Camber and R Studio mixing console, Tascam TM-D1000 Records, Shortwave Records, Albert Sabian cymbals, various percussion, (503) 285-9168 digital mixer, 32 tracks of Alesis Reda, Ennis in Theory.... Yamaha MIDI controller, E-MU Owner: Gregg Whitehead HD24 & XT20, Panasonic SV3800 Proteus 2000 sound module dat recorder,Tascam DA-30, Alesis Pacific Records Clients: Paper or Plastic, The Cand- Rainbow Recording Masterlink, Tascam 302 dual cass. 503.775.2530 lethieves, Chazz Rokk, FaCx Murda, 6614 S.W. Garden Home Rd. deck Marantz 615 CD recorder, Convenient Southeast Portland Focus, DreDizzle, Deep Treble Portland, OR 97223 Marantz PDM 320 CD player, Location Productions, Rose City Records, (503) 246-5576 Microboards StartREC 400multiple Email: [email protected] Premier Entertainment, and others. Email: [email protected] CD recorder, Manley U5,Focusrite Owner/Engineer: David Pollock Owner: Galen Hegna R8 dual mic preamps, Drawmer Rates: $20/hr includes engineer/ Private Studio Recording & Mastering 1960 dual tube mic preamps/ producer, all equipment listed 420 SW Washington St. Recording Associates compressors, TLA PA-5001 quad below. Other services include in- Portland Oregon 97204 5821 S.E. Powell Blvd. tube mic preamps, Joe meek VC3 house short run duplication (print- 503-407-2521 Portland, OR 97206 (2) mic preamp/compressors, ART ing and shrink-wrap included), www.psrecordings.com (503) 777-4621 PRO MPA dual tube mic preamps, online distribution, and design Contact: Timothy Stollenwerk Email: [email protected] Eventide H3000 effects, Lexicon Recording Equipment: Apple G4 Specializing in 24bit CD audio mas- LXP-15 effects, Yamaha SPX-90 450mhz 512mb RAM, 60gb Hard tering and post-production, which effects, Yamaha O2R (2) effects, drive, ProTools 5 Gold Edition includes original sound design for Aphex Compellor, Symetrix 425 recording software, Digidesign theater and film, field recordings, compressors Yamaha GC2020B recording interface, TDK, QPS, and and much more. Continued on page 22 compressors, Yamaha O2R dynam- Yamaha CD burners, Peavey RQ200 Rates by the hour or by the “audio
Page 20 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 21 stereo tube line amp (6L6GCs), June & Joey, Vintage Flashback, Thompson: Programmer / Engi- KGW Line Amp, RCT stereo tube Band of Andys, Strawberry,Orange neer, Delandra Clark Scheduling / mic/line pre (5879s&6L6GCs), Collection, Lamurians, In Cell, Artist Management, independent RCT tube mic pre (5879&6L6GC), Sleepover, Producer Mike Mason, engineers are welcome.Assistant RCT stereo differential limiter Brownell Sound & Bluegrass on the Engineers: Jim Lechocki, Justin (6SN7GTAs), 2 Bogen Tube mixers Green, Lisa Miller & the Trailer Park Swanson, Tony Crepps 5ch (EF86s), RCT stereo tube DI Honeys,Alison Music, King Darl, Direction: Sound Impressions has (12AT7x). RCT TUBE GEAR HAS The Haunted Church, Shirley Sand- been serving the Northwest with Continued from page 22 SEPARATE POWER SUPPLIES ers Live, Yesterdaze Child, Live cable quality audio services since 1983. AND DC HEATERS. show “Wing It” with Lynn Conover Audio projects range from local Red Carpet Treatment Effects: RCT Tube Stereo Plate, AKG & Susannah Weaver, audio for TV demos to national albums in all Aloha, Oregon BX 10 Rev, Alesis & Lexicon revs, of Hillsboro Symphony Orchestra. styles of music. Our new facility (503) 848-5824 Orban Optic Compressor, Beh- Pickathon 1999, 2000, 2001. What located two blocks from the Rose Owners: Gavin & Wendy Pursinger ringer Composer, 2 Tapco +4 stereo can “glow in the dark” do for you. Garden arena houses two large Engineer: Gavin Pursinger graphic EQs, Audio Logic Quad audio studios and a video editing Tracks: 16tk 2” 15/30 ips. Gates (VCA), 2 Scully 280 mic pres, Rex Recording suite. Call to set up an appointment. 2tk 1/2” 15/30 ips. 2tk 1/4” 15/7.5/ Ampex 440C mic/line pre, 5 Digital 1931 S.E. Morrison We would be happy to show you 3.75 Mono Tube 15/7.5 Delays, 12 ch patchable DBX 180 Portland, OR 97214 our studios and discuss how Sound Rates: $40/hr or 10 hr block for noise reduction. (503) 238-4525 Impressions can assist moving your $300 (in advance + plus tape costs) Mics: AKG “The Tube”, 451 (2), Web: www.rexpost.com musical career forward to the next Recorders: Scully 288-16 (2” 16tk), D-12, 330BT (4),D-224E, Electro- Owner: Sunny Day Productions, Inc. level. Ampex AG440B (1/2” 2tk), Studer voice RE27, RE20, RE 16 (2), DS Mixing Consoles: Studio A: DDA A700 (1/4” 2tk), Scully 280 1/4” 2tk, 35 (2), 665, 1777A (2), RE 50, Rode River Recording AMR-24, 60 inputs with Uptown Ampex 351-C (mono tube 1/4”), NT2, Studio Logic C3, Sennheiser Milwaukie, OR moving fader automation, 24 buss Panasonic SV 3700DAT, Digital 421, Shure 55S, 56 (2), 58, PE50SP. (503) 659-5760 split console design. 36 channel Audio Labs Hard Disk Editor, Helpinstill magnetic piano pickup. Owner: Steve Parker master section and 24 channel Phillips CD Burner, Pioneer 3 head Large adequate stands & hardware. monitor section with EQ. Switch- cassette (+4 converted). Instruments: grand piano, Ham- Sound Goods able plasma metering. Studio B: Monitors: Large JBL Alnico 15”/ mond CV & Leslie, Fender Rhodes Beaverton/Aloha, Oregon Yamaha 02R digital mixing console: 2”/Eliptical ring system in fac- 88 stereo, Fender Telecaster bass, (503) 690-6864 40 inputs with dynamics and tory cabinets Biamped and TUBE Gibson melody maker (P90s), Web: http://www.soundgoods.com parametric EQ. Studio C: Yamaha driven. Near fields are JBL L26(tube Yamaha acoustic 12 string, dual Owner/Engineer/Producer: Joshua 01V Digital Mixing ConsoleMulti- driven). Headphones have 4 sepa- showman cabinet, Sunn 2000s, Slamp Track Recorders: Otari MX-80 2 rate mixes. Console: Sunn SPL 3424 Sunn 1200s, Sunn 100s, Ampex jet inch 24-track with CB-120 locator & 4424 well tied for 56 inputs. L & J-12. Sound Impressions, Inc. for programmable punch-in and R main buss is now tube.. Triode Clients: Ray Charles, Chubby 1920 N. Vancouver punch-out. ADAT 24 tracks, BRC connected 807s fully regulated & Checker, Al Rivers III & The Ink Portland, OR 97227 auto locator. transformer coupled. This is the Spots, Ike Willis Band, War, Edwin (503) 287-3975 Fax: 249-5021 Mastering Decks: Otari MTR-12 heart of our vacuum tube console- Starr, Howard Roberts & Mel Email: info@sound- II, Tascam 52, Panasonic SV-3700 now under construction. Brown, The Weevils w/Billy Hagen impressions.com DAT’s. Panasonic SV-3500 DAT, Tube Equipment: “Thor”broadcast & Dave Gill, Blake Wood, Kathleen Web: www.sound-impressions.com Yamaha CD-R writer tube pre, Altec Lansing 220A tube Riley, James Robbins Band, Cross Other Services: Web Site Design, Noise Reduction: Dolby 363 SR/ A mixer ( 4X1),TL Audio Stereo Tube Country, Diamond Eye, Kevin Col- Video Production & Duplication, 2-Channels, Dolby XP 24-Chan- Compressor, TL Audio Stereo Tube lins, The Bluesters, The Rockfords, and CD Rom Authoring. nels SR, Digidesign D.I.W.R. Digital Parametric (these are fed single Robert Brown, Rob Ohearn, Miss Owner: Dan Decker Audio ended thru 40 yr old 600-10k trans- Red Flowers, Plesure Seekers, Planet Engineers and Personnel: Dan Digital Workstations: 3 Digital formers when used in mastering), Quarantine, Kind & Loving Spiders, Decker: Engineer / Producer, Nick Performer workstations with 2408, RCT Tube 4x8 Stereo Plate Reverb, Undercover Records, Cravedog, Kellogg / Engineer / Producer, 2408II, 1224, MIDI Time Piece, and Presto 40B (regulated) mic pre, RCT Fernando (Luther Russel on keys), Rick Duncan: Engineer, Wayne MIDI Time Piece AV interfaces,
Page 22 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 23 Apogee AD Rossetta Converter, Pro- Records, Carlson Records, MDR pre, Kern IP-777 tube bass pre amp, Tools III 16 Track Power Mix (on Records, Rainbow Records, Schizo- dbx 166A compressor/limiter, Mac the AVID workstation). phonic Records, Elemental Records, G-3 with Digital Performer, MOTU Synchronizers: 4 Adams-Smith Zeta The Dandy Warhols, The Freemar- 1224, Lexicon MPX 100, Lexicon Three’s. tins, Scott Fisher, Smoochknob, Al Alex, Peavy Deltafex. Outboard Signal Processors: Lexi- Perez Band, Ashbury Park, Blake Available Instruments: Allegra 6 con: 480L, 2-Lexicon PCM-70’s, 2- Sakamoto, Honey Ryder, David Lee, piece drum set, Ludwig 5 piece Lexicon LXP-1’s, Lexicon PCM-41, Disciples In Song, Jan Celt, Lonnie drum set, Roland XP-10 synth, 2-Yamaha REV-7’s, Yamaha SPX-90, Turner, Washing Waldo Woo, Roland SDP-20 percussion synth, Alesis Multiverb, Ibanez SDR-1000, Signals, MOJO, Jackstraw, Fred Boss drum machine, many guitar Eventide H-3000 Ultra Harmonizer, Stickly, Hardship, Jamie Hampton, and bass amps, various percussion ADA Pitchtrack, Roland SDE- Stark Raving Mad, Super Friends, items 3000, Deltalab 64 Delay, Deltalab Dave Said Strike, Petal, In June, Jeff Microphones: se. Electronics 2000, 1064 Delay, Audio Design Delay. Cava, Shapeshifter, Adam Zwig, GT AM-52 (2), Audio-Technica pro Orban 672A 8 band full parametric Jim Sluder, Lisa Polick, Jon Koonce 37r, Shure sm 58, Shure sm 57 (4), EQ, Orban 622B four band stereo and the Gas Hogs, Poison Idea, Sennheiser 421, Sennheiser e604 full parametric, NIH PE-30 four Eric Mathews, Cardinal, American (3), AKG D112, AKG C1000. band full parametric, UREI A522 Girls, Swoon 23, Craig Carothers, Clients: Five Fingers of Funk, Por- 1/3 octave graphic. Focusright Heatmiser, Dan Reed, Monde La terhouse, Silky, Organic Mechanic, Mic Pre’s, TL Audio Stereo Mic Bella, Southern Nights, Caveman Codebreaker, Danny East, The Preamplifi er, Aphex Type II Aural Shoe Store, Pig Pen, Hearing Voices, Instigators, Invisible Doctors, Diego Exciter, Aphex Type B Aural Exciter, Snowbud, Dan Balmer, Brothers of Salvadore, 7th Seal, Joe Cunning- 2-dbx 263X de-esser’s, B.A.S.E. the Balidi, Nu shooz, John Nilsen, ham Spatial Processor, Crane Song STC- Michael Harrison, Tall Jazz, Dub 8 Stereo Compressor, Focusright Squad, Gary Ogan, Dub Debrie, Tonic Media Compounder Stereo Compressor, Steve Christopherson, Here Comes PO Box 14062 dbx 122 Stereo Compressor, Aphex Everybody, Patrick Doro, Double Portland Oregon, 97214 Stereo Compeller, 2-JBL 7110’s, 2- Trouble, Cross Country, Power Of (503) 236-2123 Symetrix CL-501’s, 2-Symetrix CL- 10, Marv Ross Rindy Ross, Land Email: [email protected] 100 , Symetrix CL-150, 2-Symetrix of the Blind, Chode, Mel, Nancy Owner: Alan Alexander III 544 Quad Gates, Aphex 612 Stereo Bright, Leroy Vinegar, Soular, Gates. OC192, Gypsy Caravan, Melt, JIVA, Walnut Studios Instruments: Yamaha C-3 6 foot Victor Wooten, Portland Trail Blaz- (503) 312-9663 grand piano, Yamaha DX7, Yamaha ers, Portland Winter Halks, Portland Balanced Power, Equi=Tech DX7 II, Ensoniq ASR10, Fender Songwriters Association, Tektronix, ET1RSI-F. Console, Mackie D8B, P-Bass, Fender Jazz Bass, Fender NEC, Fujitsu, LPKF USA, LPKF OS 3.0. Recorder, Otari RADAR Telecaster, Kramer DMZ-5000 Germany and many more. II Hard Disk Recorder, OS 2.20. Fretless Bass, Gibson J-40 acoustic, Mics/DI, AKG C 414 B-TLII (2), Rickenbacher 5001 Stereo Bass, SuperDigital Ltd. Groove Tube 1A (2), Sennheiser Ampeg B-15 Bass amp, Fender 915 N.W. 19th Portland OR 97209 MD-421 (2) , Shure SM-57 (4) Sidekick amp. Oberheim Matrix 6R, 228-2222 , Shure SM-58 (2) , AKG D112 , Korg DW-8000, Sequential Drum- Email: superdigital@superdigital. Shure Beta 52 , Neumann M147 , trax, 2-Alesis D-4 Drum Modules, com Neumann KMS105 , SansAmp Bass Korg M3R, EMU Proteus, Ober- Web: www.superdigital.com Driver DI , AKG D12-E , Neumann heim Matrix 1000, Kawi K1, Korg Owner: Rick McMillen KMS148 (2) Preamplifi cation, Polly 800, Roland 2080, Akai S2000 True Systems Precision 8 , Focusrite Sampler, Roland JV1010, Fender T-Bag Studio ISA-110, Limited Edition , Focusrite Rhodes Piano, Whurlitzer Piano, Address: 6925 N.E. Garfi eld Ave. Platinum Voicemaster (2) , Mackie large sampling library of loops and Portland, OR 97211 VLZ’s Processing, Mackie EFX sounds. Phone: (503) 313-5521 – Reverb, Compression, Gating , Microphones: AKG The Tube, AKG Email: [email protected] Apogee UV22 , Lexicon PCM 91 414’s, Neuman U-87, Neuman KM- Contact: Talbott Guthrie for book- Reverb , Waves L2 Ultramaximizer , 140’s,EV-RE20, AKG 330’s, 320’s, ing information DBX 160A Analog Compressor (2) 451’s, 460’s, D-12’s, D112. Audio Rates: $20.00 per hr. , EMU E4XT Ultra Sampler Moni- Technica ATM-63’s, Tascam PE- Block rates are available. I know tors, Mackie HR824’s Headphones, 250’s, Sony Condensers, American many musicians who can help write, Sony MDR-7506’s Media Format and Shure Ribbons, Shure SM-57’s, arrange, or produce, if you need it Options, CD-R, DAT, .mp3, .wma, Sennheiser 421’s, & more!Monitors (for a little exta cost). The studio, Cassette Transfer Formats, TDIF, and Amplifi cation: UREI 813’s, control room, and acoustic panels ADAT Optical, Analog XLR and KRK 7000’s, Yamaha NS10’s with were designed by Rick Sullivan. _” TRS Stereo Transfer Formats, matching sub wolf, Auratone 5-C, Main Components: Mackie 32x8 AES/EBU, S/PDIF, XLR,” Coaxial. Ramsa, Crown, Yamaha,and QSC recording console, Alesis HD24 Amplifi cation. 24 track hard disc recorder, Alesis Clients and Projects: Subpop ADAT xt-20 (2), Tascam DA-P1 Records, Atlantic Records, Frontier DAT recorder, Event 20/20 moni- Records, Sony Records, Mercury tors. LL Records, Roadrunner Records, TK Processing: ART Dual MP tube mic
Page 22 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 23 Page 24 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 25 Page 24 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 25 fi ne songwriter, vocalist and keyboard player. Scott analog warmth to digital recordings. They also is doing some shows in Portland in between some scored a Furman distributed headphone system, visits to Los Angeles. which gives clients control over a custom mix in Dan is currently producing a seven song proj- their headphones to get the sound they need during Continued from page 7 ect for local singer Lisa Strout, who is getting some tracking. Morse Code Heartbeat and Nojeem have style so it’s important to fi nd the player that is suited interest from Arista’s Records. been in recently and Emberghost is doing their fi rst to the sound you’re trying to achieve. Blind Al Rude is back from California working full album. Q: Is there any likeness of a “hired gun” cadre of on a new set of songs that Dan is producing. You No Moving Parts is a sponsor of Sugarlite studio musicians here in Portland, a la Los Angeles, can catch him doing a few local shows when he is Productions’ Battle of the Bands series held Sunday Nashville,Nashville, NewNew York?York? in town. nights at the Paris Theater. First prize for the fi nals is 20 hours of recording time at the studio plus some “In March Nettleingham Audio mastered releases cash from Sugarlite. for World Beat Artist Obo Addy and the 2002 National No Moving Parts is a house-based profes- sional digital recording studio with some very cool Finger Style Guitar Champion John Standefer.” equipment. Give ‘em a call at 503.234.6410 for A: InIn termsterms ofof qualityquality musicians,musicians, absolutely.absolutely. Subside,Subside, anotheranother newnew youngyoung band, is workingworking details and rates or check out their website at http: The problem is the money. In all those cities you on some demos before starting an album project. //www.nomovingparts.com. have Major labels who shell out a lot of money for Mr. Decker, who has more energy than my six- It’s been a busy winter and spring at Big Red session players. If you land one of those gigs every year-old daughter, will be producing that upcom- Studio. Intern Ben Witte has joined Billy Oskay in couple of months you’re doing all right. Here in ing project too. recording, mixing and mastering several projects: Portland most recordings are either self funded or Dan is working on pre-production for the David Tiller and Enion Pelta’s “Man Chasing on such a shoe-string budget that half the time the second Jeff Cava record. Cava has been working in Woman Around Table” with guests Tye North musicians end up working for free. So until Port- London and New York with the AOL Time Warner (Leftover Salmon), John Neufeld (JackStraw) and land starts seeing some larger recording budgets I’m entertainment group and is currently locked up groove-wizards Dave Watts and Garret Sayers (The going to say it’s not realistic. somewhere in Colorado writing new material. Motet). Other projects include Dan Crary’s: “Renais- Q: Now that we’ve established that you wear a Recording will begin in mid April. sance of The Steel String Guitar,” Italian fl at-picking lot of hats in this town, how about Ezra Holbrook the Sound Impression is putting in a server for web wizard Beppe Gambetta’s “Blu di Genova”, now hit- recording artist? When is your next CD coming out? sites that will host bands for the Portland Metro ting the charts in Europe, “Egregora” with Brazilian We keep hearing these great songs at shows we’ve seen area.area. TheThe serviceservice willwill includeinclude updatingupdating ofof the sitessites pianist Plinio Cutait, and a series of six mountain you play and wonder what your plans are. A: I’m currently working on a new record with “No Moving Parts is a sponsor of Sugarlite Sean Norton. It should be done by June, I hope. Productions’ Battle of the Bands series held Q: What are your plans, say, 5 years down the road? Do you have any master plan or will you just Sunday nights at the Paris Theater.” play it as it lays? so that bands can havehave an affordableaffordable opportunityopportunity musicmusic CDs featuringfeaturing membersmembers ofof FoghornFoghorn String-String- A: I don’t really worry about it. Planning is to have a custom site that’s up to date. Service will band. Also, Crary and Gambetta, along with guitar for squids. be free for the fi rst year for the fi rst 100 bands that masters Don Ross (Canada) and Tony McMannis Just in case you’re wondering how records are sign up for a site. (Scotland) recently recorded their premiere concert actually made and to give everybody a thumbnail Blue Dog recording is in its newly remodeled as the “Men of Steel” which was mixed and mastered sketch of what really goes into the process around space. The remodel doubles the size of the old by Billy at Big Red. these parts, Sean Norton, who does a lot of engineer- studio and was completed just after Christmas. Walter Midi is no more. After all these years ing and producing himself, offers a little vignette Bands / artists in recently doing projects include owner Jon Lemon has decided to give his studio the in our Letters section about “being a producer”; Johnny Martin, Gypsy Caravan, and Howard Crosby eponymous Lemon Studios moniker. About a year especially when Ezra Holbrook and his crew are (Bing’s nephew). With a little more room blue dog’s ago Universal signed and released Sassey nationwide, around. post production business is beginning to grow as an album that was recorded at the studio and it is Dan Decker from Sound Impressions is a busy well with owner Bruce Robertson doing original still doing well. Colin England, who is a well-known man. He just fi nished producing and engineering Scores for both corporate and commercial clients R&B performer, produced the record. The local label Jigsaw Jones’s first album. This band recently including Nike, AT&T Broadband and Columbia is 2way Records. changed their name from MOJO and opened the Helicopters. Johnny Limbo and the Lugnuts is fi nishing show for Bart Ferguson at the Crystal in front of InIn MMarcharch NNettleinghamettleingham AAudioudio mmasteredastered work on their 25th anniversary CD. Aside from the aforementioned bands, Lemon Studios appears to “Walter Midi is no more. After all these years be a haven for “art” music, eh? owner Jon Lemon has decided to give his studio The Bassoon Brothers recently released their album “Captured” featuring music in the vein of the eponymous Lemon Studios moniker.” PDQ Bach (Peter Schickele) 1,000 plusplus folks.folks. TheyThey regularlyregularly drawdraw 300 toto 400 releasesreleases forfor WorldWorld BeatBeat ArtistArtist OboObo AddyAddy andand thethe Duelin’ Sopranos released an album of French fans here in Portland, Dan tells me. Their record 2002 National Finger Style Guitar Champion John art music for vocal and piano. release was at Conan’s recently and they played to Standefer, mixed and mastered a demo for the Brenda Baker has released an album of art a full house. Sounds like a band that needs to be Astoria-based Classical Group The Jeffersonians, music for vocal and piano by the composer Richard checked out. Wisconsin resident, singer/songwriter Cathy Faith. In February Dan fi nished up the Bart Ferguson Bolton. Portland based Relent For No One, jazz A little self-serving end note: my promotion (former lead singer for Kerosene Dream) project, songster Judd Janes, Gospel artist Jennifer Klotz, company, LSF Presents, is hosting a songwriter’s for whom Dan is also playing keyboards. The disk Long-time Benson Hotel Lobby artist Jean Ronne, showcase Tuesday April 29 at 8PM at Burlingame is 15 songs long and was produced by Kevin Patrick Dennis Winslow, mastered 3 releases for the Port Acoustic Room (corner of SW 1st and Ash) featur- Welsh. Dan tells me that sales have been strong and Townsend, WA label Moribund Records including ing Lea Krueger, Stephanie Schneiderman, and Lyle they’ve had to restock more than once. Sargeist, a black metal band from Finland and a Ford. Hope to see ya’ll there. Until then, remember Dan also did the Tremor Guild album last year, double CD set by Black Metal artists Azreal. The that whatever excites you excites me. So e-mail me the other former members of Kerosene Dream. Martindales, Kevin Nettleingham’s band, are track- at [email protected] or, being as I’m not afraid Scott Fisher is currently shopping his disk in ing a new CD as well. of the phone, fell free to call me at 360.834.1623. LA that Dan engineered and co-produced. It was No Moving Parts has recently gotten an Otari fi nished in late November. From all I hear Fisher is MTR-12 Analog Mastering Deck. This unit adds LL
Page 26 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 27 sounds like it’s being sung by women who esque guitar attack. But Erik Stanfi ll’s keyboard don’t speak English as their primary language. approach is descended from those of Kilroy Was Think of Shonen Knife with subtitles. Until I Here-period Styx and Moving Pictures/Signals- looked at the title of the song, I thought the era Rush (think of “Tom Sawyer“). Other sty- girls were singing “two hot dogs.” Anyway, it’s listic comparisons have been made between Continued from page 11 a funny song with a surprise twist in the lyrics, Stereo Crush and the Smiths and the Cure. Slits, or, the aforementioned Tiger Trap. Cute. in the very last line. There is some truth there too, although this “Down South, Ten Hours, I-5” is a “band on the This is real Power Puff stuff. The All band sounds more like Robert Smith fronting road” number, that’s also pretty cute, although it Girl Summer Fun Band are almost great. They the Smiths or Morrissey fronting the Cure. And does not add a whole lot to the oeuvre. certainly play well enough, or nearly so. The Bono fronting Joy Division is a component here If brevity is indeed the better part of wit, lead guitar riffs, while somewhat primitive at too, it would seem. then “Ticking Timebomb,” coming in at 97 sec- this point, are bound to evolve. And the songs Still Stereo Crush are not a retro band, onds in length, is pretty darn witty. It’s a standard are all cleverly written, if at times incomplete. despite the fact that Stanfi ll’s keyboard patches complaint, lover-gone-wrong stuff, over a hard- The addition of a keyboard in the mix on several recall ‘80s staples: the analog Sequential Cir- driving surf beat. Briefer still is “Inarticulate,” songs adds depth and color. cuits Prophet 5 and the digital Yamaha DX-7 clocking in at 86 seconds and vaguely based on What these songs lack, in several instances, synthesizers. And Stereo Crush are not a copy an old, civil war melody. “Jason Lee” isn’t as brief, is a good bridge. A bridge need not be more than band either. Instead they are the sum of their but it’s even wittier; while (indirectly) referring a few lines, or a brief key change. But, a bridge infl uences- sounding something like many, but to the Bobbettes 1957 hit “Mr. Lee.” It’s a loving can add a lot of space to a song and can break exactly like none. Their material is intelligent, crush-song for the actor (Mallrats, Chasing Amy, up any repetitious aspects of an otherwise very if not always intelligible But, with this record- Dogma, etc); a sporty march, along the lines of solid composition. ing, they are certainly presented in their very They Might Be Giants’ brilliant “Ana Ng.” Secondly, some of these songs would best light and the consistent high quality of the “Grizzly Bear” is distinctly Tanya Donelly- benefit from different arrangements. Doing material here refl ects that fact. esque in nature, circa her Belly period. Light- whatwhat is expectedexpected is not alwaysalways the bestbest choicechoice Stanfill’sStanfill’s burbling,burbling, organ-likeorgan-like keyboardkeyboard hearted and a bit off-kilter, it’s a fi ne rocker with a double-time beat and a memorable guitar riff. “Stereo Crush are not a retro band, Good stuff. Changing gears, “Daydreaming” is a despite the fact that Stanfi ll’s keyboard dreamy number, with echoes of early U-2 in the rhythm section and eerie volume pedal guitar patches recall ‘80s staples: the analog interjections. Meanwhile, “Video Game Heart” Sequential Circuits Prophet 5 and the sounds like the Shangri-Las doing a Breeders song Chunky, hard hitting guitars and punchy digital Yamaha DX-7 synthesizers.” drums propel the song, as a fl uttery synth part for some songs. It might be interesting to think arpeggios squirt out against Crash’s brash, lends distinctive character to the arrangement. how Chrissie Hynde or Johnette Napolitano Neil Young-like guitar chords, over an F#m/D “Million Things,” “Parallel Park” and would approach a song like “Becky.” There is progression, on “Oxygen.” Crash’s passionate “The Longer I Wait” share a similar world view some real emotion in that song in particular, vocals utter important phrases: “And judgment (mostly concerned with being with the loved which is not fully explored here. Here we get calls/Smart bombs,” etc., whose apocalyptic one and making out, etc) and (in the case of what is expected. imagery seems prophetically close to our cur- the fi rst two, anyway) a penchant for infectious, Still, AGSFB fire on six-cylinders most rent reality. cheerleader-like handclaps in the choruses and of the time. And while they might lack a little Bassist Benjamin Rickard maintains a lean, turns. power on the steeper grades and smoke a bit in sparse bassline through the verses, over Daniel Baxter’s synth strings give “Samantha Secret traffi c, they prove themselves to be a sturdy and Vallejos’ robust beat. The chorus bursts forth Agent” a certain epic quality, in a song that could dependable vehicle, road friendly and- rain or briefly, with Crash’s doppler bomber guitar pass for Hunkpapa-era Throwing Muses, doing shine, it always starts right up. figure and Stanfill’s slippery, pitch-wheeled the title track for a G-rated spy fl ick. The chorus keyboard fi lls. Meanwhile, Rickard is allowed is catchy, but awfully repetitive. And the storyline Like A Girlfriend- Stereo Crush to play notes more frequently than once every within the song is especially elusive. Self-Produced four measures. “Becky,” which starts out as a tender ballad, his talented quartet has produced “Break In Two” follows, a song that could cuts across fi fty years of rock ‘n’ roll girldom with two albums and an EP in the past easily pass for Rob Thomas and Matchbox 20, razor-like precision. The key lyric is “Becky, I fi ve years. This second EP marks except that Stereo Crush can really play their wanna borrow your boyfriend/‘Cause I know T substantial growth for the band. They recorded instruments and Stanfill’s orchestral synth- you don‘t really care/And it doesn‘t seem fair to this fi ve song project at Kung Fu Bakery, with string fl ourishes seem way outside of Match- me/I wanna borrow your boyfriend/‘Cause I‘ve Tim Ellis serving as producer and Bob Stark box 20’s domain. Again, the arrangement is very got so much love inside/And you‘re just taking acting as the engineer. And those world-class spare, allowing for a spacious production- Rick- him for a ride.” Well, there it is. Eventually the talents working behind the board have helped ard and Vallejo hold the song together, barely song (predictably) erupts into punky surf over- to fl esh out the band’s sound, without sacrifi cing tethered together as Crash delivers the message. drive, essentially destroying the true feel of the any of their power or spontaneity. Stanfi ll’s Foreigner-ish keyboard installations in song, but hey, that’s rock ’n’ roll. The band cites Afghan Whigs as an infl u- the chorus give this band a unique sound. Mean- A driving beat and unison lead vocals, ence and that can be heard in vocalist/ guitarist while a strong bridge helps to elevate this song replete with “yeah, yeah’s,” recall the early Johnny Crash’s impassioned Greg Dulli-like Beatles, in “Tour Heart Throb.” The chorus vocals. Coupled with his fi ery Rick McCollum- Continued on page 28
Page 26 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 27 For, here is a fairly lo-fi recording of three songs, produced by an enterprising fi vesome of like-minded young men, who, with a spit- and-bailing-wire approach, cobble together some very interesting music, which, at various Continued from page 5 Continued from page 27 times seems infl uenced by Zappa, the Stones, basis, or who are already conducting an audit of well above the mundane. the Doors, Led Zeppelin, Afghan Whigs, Radio- the same label on behalf of another artist. Another brilliant arrangement distin- head, Morphine, Blur, Offspring and Silverchair, 4. Giving all artists the right to conduct royalty guishes, “Promises In Sand.” Every instrument to name but a few. audits, even if the right to audit is not provided is given space to be heard, with no aural clutter, This is mood music- somewhat non-linear, for in the artist’s original recording contract. This whatsoever. Crash’s frenetic guitar squawks drive at times very energetic and at others a little change will mostly affect artists who entered into the song, but other guitars- a whipsmart electric disoriented and discorporate. The musicians, a recording contract with Universal or its affi liated rhythm guitar, as well as a frothy acoustic guitar vocalist/guitarist Andrew Munson, drummer labels a number of years ago. However, for artists are in the mix, in various places. Stanfi ll adds Chad Noakes, bassist Scott Noakes, and guitarist who have been signed to Universal or its affi liated understated organ pads, while Vallejos and Rick- Ryan McIntire present a sometimes dense sound. labels in recent years, the typical Universal record- ard provide most of the forward motion. The addition of dj Jon Brennan to the mix adds ing agreement offered in recent years has routinely The title track is a moody number, with an unique spin to the production, creating noir- contained a “right to audit” clause. Crash’s vocal sounding like Styx’s original vocal- ish contrasts and gritty textures. Sometimes the ist Dennis DeYoung singing over an instrumental music strays from its musical point, as the band CONCLUSION arrangement that could pass for late ‘80s INXS. offers occasional soliloquies of gibberish. But, in It is not yet known what effect these announce- As the song progresses, a gathering reverbera- many instances, they display real power in their ments by major labels will have on the California tion of thick clouds, comprised of guitars and performances, as well as real imagination. Legislature and whether the California Legislature keys, begins to hover above rumbling bass and Ocean sounds, a singular guitar and a fal- will be willing to enact royalty reform legislation crashing drums. Emotively effective. setto voice lead us into “Black Widow,” before despite those major label announcements. The music industry is currently in such the song quickly gathers in intensity, if not in It is also not yet known whether the changes lousy shape, that it would seem there is no lucidity; raging thunderously, full of sound and announced by some of the major labels will in fact substantially improve the royalty situation for art- “Precursor’s somewhat reckless approach ists. So far, I think that there is a good chance that the changes announced by the major labels may to DIY home recording suits their sometimes turn out to benefi t artists to a certain extent, but sloppy approach to their material. But this will also be “window dressing” in some respects. For one thing, there are a number of royalty provisions band is not without potential The vocals are in recording contracts that cause royalty problems generally charismatic in an idiosyncratic for artists but that have not yet been addressed in the major label announcements to date. sort of way.” In addition, the recording contract changes one home at the majors to promote the sort of fury. It’s not clear what it is, but it’s quite clear that have been announced will not keep a major intelligent, well played, well recorded music that there’s a problem here. It all resolves in some label from underreporting sales if that is what it is Stereo Crush are obviously capable of creating. pretty, but eerie falsetto vocals. determined to do. By the same token, the existence There are a few other bands like this around More of a straight-ahead rocker, “Psalms” of the SoundScan data collection system, which Portland. And it’s a shame. They are all too good rides upon a classic rock guitar riff and a vocal collects sales data at point of sale, makes it more for the indie world of hit records: with sales of line that parallels that riff, sounding something diffi cult for labels today to grossly underreport the a couple thousand units. And the major labels like Supergrass at fi rst, before the song becomes number of units sold than it was before SoundScan so desperately don’t know what they want, that a Hives meets the Vines sort of hopped-up affair- came on the scene. other media (such as the internet for instance) with a spacey middle section. The apocalyptic Stay tuned for further developments. are now about the only means by which the ska of “Dead Man Walking” creates an energized public can know of these great bands. This is a atmosphere, with vocals that sound a lot like Editor’s Note: Bart Day is a Portland-based fi ne album by four good musicians and a great Mick Jagger fronting the Strokes. entertainment attorney in private practice and is production team. Precursor’s somewhat reckless approach also VP, Business Affairs, for Media Creature Music, to DIY home recording suits their sometimes a Los Angeles publishing and catalog administration Precursor- Precursor sloppy approach to their material. But this band company. Self-Produced is not without potential The vocals are gener- Bart is the co-author of a chapter (entitled h, it’s been over twenty years ally charismatic in an idiosyncratic sort of way. “Contracts and Relationships between Major Labels now since former Two Louies The guitars often deliver well-wrought pieces and Independent Labels”) in The Musician’s Business columnist Gary Aker infamously of exposition. All in all it seems that the band and Legal Guide, a book compiled by the Beverly O Hills Bar Association and published by Prentice-Hall asked of the popular local hair band, “Sequel has real possibilities and is, most assuredly, a To What?” Admittedly, his was a cheap shot, precursor to something! Publishing (New York). but it brings to mind another question about The reader is cautioned to seek the advice of the another band, all this time later. Precursor to reader’s own attorney concerning the applicability of what? Now hear me out, I mean this in a good the general principles discussed in this column to the way. I think. LL reader’s own activities. LL
Page 28 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 29 MUSICIANS CLASSIFIEDS STOP IN ANY PORTLAND MUSIC FREE LOCATION & FILL OUT THE FREE FORM •Female Vocalist looking for local rehearsal space for Wed & Sun. If •Keyboard player for Women In work. 20 plus years, solid, tasteful “working” band. Prefer modern, you dig Q.O.T.S.A., Audioslave, Foo Blues gives lessons in improv. How and in-the-pocket. All styles. Bryan dance, pop, alternative, but will Fighters & Led Zep you’ll dig us. to jam and much more. Bonnie Lee Anderson 503/781-DRUM negotiate. 503/750-3857 Call: 503/672-7644 Bluestone 503/293-6072 •Drum lessons. All styles, children, •In search of keyboards, lead guitar •Lyricist & Poet seeks band . I sing •Guitarist seeks Ragtime keys to teens & adults, beginning to other with vocals for project. Lucid, and play guitar. Call Lex Talions start prog band. advanced, over 20 years experience. compelling, wild & swoon describes (Chris L.F.) @ pgr. 503-204-0935 or Call Kevin 503/221-4297. 503/781-DRUM the sound. Jordon 503/880-9696 eve only 503 348-8318 •Band needs bass & keyboards. M •Guitarist looking to jam with level •Bass guitar player available •2 cent Solution seeks new vocalist. or F Us: 3 guys and a gal w/jobs headed people. Blues, Classic Rock, foe demos-recording projects. Pro only. Call Stacy @ 503-614-9338 & fams. Gig 1 or 2 times a month. alt. Rock, some punk. Call Bill 503/ Professional equipment & attitude. or go to www.2centsolution.com 503/775-2677 or 503/289-4234 307-4208 Mature, experienced, stylistically •WANTED: Bass, Rythm guitar and •Producer / Songwriter seeks female •Accordian player wanted for fl exible. Fretless, fretted acoustic or keyboards for Brit pop infl uenced pop/R&B vocalist for original clarinet-tuba trio playing Klezmer, electric bass. Call Bruce 503/628- band. Walking bass lines preferred project. Tony 503/737-2244 Balkan jazz repertoire. Guitar also 9120. James 503-7302774 •Rhythm guitarist. Little experience considered. Kevin 503/239-4164 •Bass player looking for a gig. •WANTED: UNDERASSISTANT but lots of potential, ambition and •Seeking keyboardist or guitarist Originals preferred. Infl uences: West Coast PROMO PERSON balls. Metal infl uences mostly but with 2 set vocal repetoire and Maiden, Sabbath. No drop “D” to work with East Coast mgmt open-minded. No Country. Jason harmony ability for R&B, 60’s-70’s dwellers. Old School perfect. Craig promoting a Portland area original 503/247-7492, 503/680-2467 cell rock-n-roll band. Pat 503/636-7449 503/656-0582 VH 1 type band w/new CD. Don’t •Lead vocals, bass player into blues, •Bass player needed! New band •Looking 4 fresh talent: to work be shy, this band could become your Jass, R&B, standards and originals. forming. Ooking for bass and on progressive minded originals. life. [email protected] Looking for working group. Pro vocals. Call Jason 503/304-8438 70’s British infl uence. Call Stuart •Guitarist/Songwriter pro looking gear, pro attitude, team player. L. •Guitarist/Vocalist w/bass seeks 503/253-1915 to start or join band. Can shred the Kay 503/692-4676, 360/687-7741. band. Can do most classic rock •Big Island Shindig.com needs the blues or rock with ease. Into mostly •Mana Machine seeks Female tunes. Into Original, Blues and right bass player. Working band very originals. Strong voice and can play vocalist. Original material, drums, Rock. Call: Reedy 503/869-9335 serious. Call Noah 503/244-6733. well enough to fi ll a 3 piece. No guitar, bass, computer loops. Pop to •Drummer wanted for old time •Bass Player Wanted Guitarist, fl akes or burnouts Techno Call: Jason503/684-1023 or CW/R&R band. Brushes a must, drummer & vocalist seek solid Mike 503/234-2634. Erik: 503/846-0530 vocals a plus. Be relaxed. Michael serious bassist. We have a cheap •Drummer available for studio 503/254-8972
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Page 28 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 29 that shit up Hanky”. They call me “Hanky” by the bitches want to suck my dick at the studio I’ll let way. I get most of the basic tracks, along with end- you have a singing part on our new record.” Ha ha. less amounts of shit talkin’ for the day. But that was OK. Maybe he didn’t say that. But seriously, he did just during the day. Watch what happens next. invite the audience members to an after hours ses- 9:45 pm: Mr. Bonedangles (their bass player) sion. The crowd cuts in half as we grab our gear and begins yammering, “Ah shit Hanky. We’ve got a bunch of people to head back to Falcon to record show tonight at the Cobalt”. what we in Producer language call “party tracks.” ContinuedContinued frfromom ppageage 3 “What time are you on?” The Freemartins were taking the stage as we exit. Bonedangles puts down his weed pipe for a 1:00 am: I turn the studio equipment back sic KISS. Tommy breathed new life into the boys second to cough “I think ten or eleven. We took on. People begin to show up. Beer comes out. And that night, even Peter was pounding harder then an earlier slot rather than close.” The band franti- the party tracking begins. I couldn’t breathe at one usual. There was a lot of love in the point because I thought my crowd for Tommy, no one seemed gut was comin’ out my butt to miss Ace... from laughing so hard. After the show we we ushered Thank god for editing or to the private after show party at there wouldn’t have been Club NINE at the Palms. Again, any music on the record. open bar, high end booze & dom It would have turned into all around. nothing but drunken When Tommy came down comedy skits about penises after removing make up we and monkeys. entered the private glass room We also brought behind the DJ (who was playing along Spokane ska band, ONLY classic rock) where George Civilized Animal. They Maloof started bringing in platters opened the show at the of Shrimp, Oysters, Rack of Lamb, Cobalt. Did I mention Baron of Beef...someone wanted they have 8 guys in their fries...platters of fries, cuban cigar band. Slight problem, anyone? Paul came down with though. Their road man- his young son and girl friend, ager is bleeding from a Peter arrived with his agent. Gene knife wound in his back. wandered in later, took one look Apparently, he and the around and went back out to the other members were out- club where he escorted in a couple side the Sandy Hut when of “friends”. A few minutes later he they provoked a homeless escorted a few more in...the Palms guy. I think they gave him did a great job of stocking the place Tom Holland, Tommy Thayer (in makeup) and John Thayer after the show. money but threw it at him with Party Girls. Doc McGee was or something. The home- in a fi ne mood, we discussed the less man stabbed the roadie Aerosmith./KISS summer tour to in the back. It’s hard to be start in July. He sez the Gorge, I said ‘Rosegarden’ cally grabs their gear so they can head out to do a specifi c on that one. I think he walked it off instead ...BUT Tommy will have too many comps! Always show tha night. of what most people do: go to the hospital. the money... Across the bridge at the Cobalt Lounge Hours go by and we are doing full-blown Anyway, a great show, a great night. Tommy (remember when they had bands) Wendy, the crowd tracks. People are loving it. The mood is is off editing the pay for view and DVD of the Mel- club’s promoter, is outside waiting for us. She great. Everyone is energetic about this album we’re borne Syphony show. At this point Gene & Paul are seemed kind of upset. Why? Because they didn’t coming out with. The kids in the studio with us considering him the lead guitarist of KISS! think we were going to show up. How could Wendy genuinely love the band and its material. For me Cheers be upset at eight morons with too much beer and it was like baby-sitting a bunch of preschoolers. Tom Holland large libidos. That’s not including myself. I am I fi nally got the crowd shout takes I wanted. We guilty of mass consumption from time to time. spent some time doing vocal overdubs with not DOCTOR’S IN All I cared about was that their regular soundman much problem. Dear Two Louies, Charles was banned from the club that night thanks We wrapped up as the sun started coming I arrive at Falcon Studios around 10:00 am to the band’s request. Gotta love that. out but not without incident. I heard that Civilized for a long day of basic tracks with Portland’s freaky After Stevie on loan from Dante’s wires the Animal took off in their 16 passenger van to go funk band Dr. Theopolis. In case you’re wonder- stage, I proceed to line check the band. Shitty crash at the guy’s house and accidentally forgot ing, I always get to a session two hours before the sound systems are so much fun and the Cobalt their singer at the studio. He had gone on a walk band gets there. I prepare for drum tracks and it’s system would qualify as shitty. Many of you may to clear his head of the party while we packed up. business as usual. not realize this but anything sounds better with Good news! They did go back for him. 1:00 pm: the dynamic duo, brothers Ezra and beer. I’ve discovered this from my extensive career Back in the studio later that evening doing Jules Holbrook, stroll in with a few half racks of of mixing Portland bands. It’s kind of like bacon. more tracks. But that’s a whole different story. P-towns favorite PBR. I wonder if their label Pimp It’s just delicious. Sean Norton Bionic Records has any connection to the brew. EZ After the last encore, EZ Money Holbrook http://www.seannorton.com/. Money (aka Ezra Holbrook) pipes up with “Fire shouts, (or maybe it was a slur) “If any of you LL
Page 30 - TWO LOUIES, April 2003 TWO LOUIES, April 2003 - Page 31 ON THE COVER- Ezra Holbrook. Producer, musician, engineer and recording artist. Ezra produced Little Sue’s new CD and shows up in the credits of a wide variety of artists including Lael Alderman, Stephanie Schneiderman, Ashleigh Flynn, Lew Jones, Jeremy Wilson and the Baseboard Heaters. Holbrook’s band Dr. Theopolis will have a track on Deep Roots Continued from page 17 8 8 8 compilation from Reynolds High. (photo Buko) Do the math… Kenny G? Portland’s online CD retailer CD Baby passed It was Kenny Gorlick in his Portland club $3 million in sales March 10th. days. As Billboard’s Chris Morris put it (4/5), “That’s not too shabby for a 5-year- old company Jeff and Kenny both have hits right now… that sells nothing but self-released albums by some • Established 1979 • Lorber’s Philly Style on Narada is #7 on 33,000 independent artists. The Portland, Oregon- TWO LOUIES PUB LISH ING Billboard’s Top Contemporary Jazz Albums (4/5) based fi rm has moved close to 400,000 units.” Editor: Buck Munger after two weeks and Kenny G’s Paradise on Arista CD Baby founder Derek Sivers paid his musi- Graphics & Photo Editor: Buko tops his former boss at #3 on the same chart after cal dues in New York fronting his funk-pop band TwoLouiesMagazine.com Art Director:Deb McWilliams twenty-seven weeks. Hit Me and working as the tape room supervisor Writers: and in-house producer/engineer at music publisher Marc Baker • S.P. Clarke • Bart Day Tom Grant blessed the locals by staying in Warner/Chappell. When he couldn’t fi nd an online Annie Farmer • N.L. Fogerty • Lisa Ford • Den nis Jones Portland and has recorded over a dozen charted retailer who would sell his band’s CD without tra- Denny Mellor • Robin Rosemond • Stephanie Salvey albums for several labels. ditional distribution he founded cdbaby.com. Illustration: Tim Rutter Tom’s new Solo Piano album is the third on Artists who want to sell their product on the Photographers: his own label Nu-Wrinkle Records site pay a one-time start-up fee of $35 and a fl at David Ackerman • Buko • Gustavo Rapoport • Pat Snyder $4 per unit sold. Printed by: Oregon Lithoprint 8 8 8 “We get about 75 new titles a day now.” Says Two Louies Magazine Derek 2745 NE 34th • Portland, OR 97212 Jailbait. “CD Baby, which started as a two man opera- PHONE (503) 284-5931 AFM Local 99 president Bruce Fife has tion in Woodstock, N.Y. moved in September 2000 Email addresses: put together a coalition of the willing to lobby to a 20,000 square-foot warehouse space adjacent Editorial: [email protected] the OLCC to reverse Oregon administrative rule to the Portland airport, the U.S. Postal Service’s Layout: [email protected] #8450060335 which prohibits minors from per- Northwestern mail hub. The company employs Web: [email protected] forming in drinking establishments. The coalition a staff of 23, including six warehouse employees © 2003 by Two Louies Magazine. May not be re pro - includes artists, relatives of underage musicians, who skateboard through the racks to hand-pull duced in any form without the ex pressed writ ten Internet music journalists and members of a danc- product.” consent of the publisher. Two Louies is avail able by ers trade organization. subscription. Send $35.00 for one year, post paid. To raise awareness of the issue Portland 8 8 8 Online Music Net and KPSU is sponsoring The th THIS JUST IN…Slackjaw has NOT broken Barely Legal Show at PSU April 11 with the Erotic up says the band, “however” Eric has decided to Politicians, the Jake Blair Band and Andre and part ways so Joey & Rob will be auditioning new the Infusion. members. The fi nal show with Eric will be at the Shock, then awe… Blackbird April 11th…Brian Berg hosting Folk Off Bruce and the AFM got in bed with the ACE Mondays at the Bitter End. The fi rst show April 7th (Association of Club Executives) to try and change features Rob Scriver, Jeremy Wilson, Alan Char- the OLCC’s ruling. ACE represents dancers. Fife ing and Steve & Craig. Brian also hosts “Rocks Off says the regulations against performers touching Thursdays at The Green Room. Chez Stadium’s themselves are silly too. Randall Payton gets his off April 21st…Stars of “Michael Jackson could be cited under these Track and Field at Lola’s April 9th…Toni Land rules.” has a new CD out. Lucky Cat has performances by Tim Ellis, Carlton Jackson, Albert Reda, Paul 8 8 8 Brainard and Mel Kubik. The release party at The Buffalo Gap April 3rd also featured Nann Kudos Alleman of Spigot…April 18th the Ohm brings John Foyston is the best music writer at the back the Funk Fantastic with Grooveyard and Oregonian because being a Stratocaster driver him- Life After Liftoff…Kleveland shot an infomer- self, he writes from the players’ perspective. cial in front of a live audience at Portland Cable John reviewing Bernard Purdie’s new CD Access March 30th…Dave Coey and the Tremor Purdie Good Cookin’ Guild at the Gemini April 12th and the White “There are musicians who know that the Eagle April 26th…Eric Donaldson contemplating song’s the thing and that any note that does not a name change for the Wise Guys since fi nding advance the song detracts from it.” out there are famous bands by that name back east Ba-bing… and in the UK. Maybe to the Whys Guys which The CD Release Party for Purdie Good would at least save some of the phone work. Rick Cookin takes place at the Greenwood Inn April 5th Galarneau of the worldwide USO touring China with Ron Steen’s band opening. Watch is becoming a Whys Guy. The Whys host a weekly jam at the Spot Tavern in Vancouver on Thursdays…Lorna Miller appears at John Twist’s “Songwriter’s Romp” at the Burlingame Acoustic Room April 15th… LL
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