photo Buko Sandin Wilson - CD “Into My World” Original Contemporary Pop/Jazz Featuring Carlton Jackson, Paul Mazzio, Jaybird Koder, Tim Bryson and special guest Doug Fraser Let Sandin‘s music make this Christmas a memorable one! “Sandin is a fantastic bassist/vocalist and was a pleasure to work with on his debut recording” Jimmy Haslip Yellowjackets “ A world class bassist/composer, with a great singing voice, Wilson has assembled a talented cast for his inaugural CD as a leader.” Wayne Thompson Jazzscene Magazine

“We were impressed with the fact that Jimmy Haslip was involved. Now we know why, Sandins music is excellent!” Ron Garrant - editor Bassics Magazine

A unique and cool Christmas gift. Pick up a copy, (or 2) at Tower, Music Millennium, & Everyday Records “Hear it on KMHD” You can also listen online at www.cdbaby.com or Sandinwilsonmusic.com “Contemporary Music for Sophisticated Ears” See Sandin with “Metro” Every Tuesday at the “Candlelight Café” featuring an amazing Lineup – Jeff Frankel, Regina K, Alex Shakira, and Kerry Movassagh. (You gotta see this band) R and B funk- done right

for booking please [email protected]

Page 2 - TWO LOUIES, February 2003 February of 1997 Elliott Smith and Larry Crane open Jackpot! Recording studios. Rebecca Gates (Spinanes) introduced the former Laundry Rules studio owner and the Heatmiser musician. Th ey came up with the name for their new studio from a Trivial Pursuit game at the Laurelthirst Pub. “We were in there one night having beers and we were going through the cards, and that word clicked.” Says Crane. photo Buko photo and we never heard any complaints about his work. say that he had the body of a young child and the Th us was launched a career that eventually caused mind of an old man. He also was very selfl ess and him to touch the lives of many, many folks in the courageous, as is illustrated by an incident that Portland musical community and beyond. occurred while Sky River was returning from a gig in Eugene some years ago: We were all driving together along I-5 and decided to take a breather at a rest stop where the SOUNDMAN PASSES freeway crossed the Santiam River. Dear Two Louies, As we approached the river’s bank, On the evening of Wednesday, October 8, we suddenly became aware of 2003, aft er a long and inspiring dance with his someone yelling for help from the earthly limitations, our good friend and beloved middle of the river. Several of us associate Mario Cosentino gently slipped on to the leapt into the racing water and Great Beyond. He was 52 years old. headed for the struggling unfor- Mario met Oakra Sparks in the late 1970’s tunate. We corralled the person, when they were both recent transplants from Cali- pulled them to safety and then fornia looking for a new place to call home. Th ey heard another plea for help. Lo both got jobs working as bartenders at the Purple and behold, it was Mario, who had Earth Tavern in Northwest Portland and became been jumped in with the rest of us fast friends. Oak was just beginning to put a band trying to help and had gotten into together with some newly acquired acquaintances Mario at the Satyricon sound board. deep water only to remember that and asked Mario if he would be interested in run- Mario was always a quiet person who never he couldn’t swim. We got him out ning their big six-channel mixing board. He was found it necessary to say anything unless he fi gured quickly but it left an impression on all of us about relatively new to the science of audio but, being a it was pretty important. He was a very intelligent the character of our quiet friend. person of impeccable taste, considerable forbear- man who had a much deeper understanding of ance and a natural-born artist, he took to it quickly life than most people realized. His mom used to Continued on page 23

TWO LOUIES, February 2003 - Page 3 songwriting craft . In this format, his songs did not sound so diff erent than many of those I have heard in living room and coff ee house songwriter sessions here in Hollywood. Not to imply his success was luck, just that it would be hard for my ears to predict that this body of work would be responsible of the sale of millions of records based on this simple presentation alone. Th e real surprise of the evening came aft er the show’s obligatory encore. Rather than beat a hasty retreat to the dressing rooms and waiting limo, Art remained center stage greeting audience, signing autographs, posing for pictures until it was time to clear the venue to make way for the dance club that was set to open it’s doors. Whatever you can dispute or defend about the legitimacy of Everclear’s rise and decline in pop consciousness or the band’s implied hiatus / breakup, Art validated himself as Art for Art’s Sake the common man he portrays in song. Having had my own brief minute of local fame, I was impressed with the poise and genuine interest Art expressed he Los Angeles chapter of the Art made me rethink what I wanted to do with my to all he met. Th eir experiences intertwined, their Alexakis Fan Club met at the Knitting own music. Having struggled with trying to come histories linked. Art did not put himself above Factory in Hollywood California on the up to the bar of Major Label perfectionism for so those who have supported his music just as those he nightT of Friday October 17th. For the enthusiastic long, I saw there was a light of truth at the end of has touched did not need to mob him or disrespect hundred plus in attendance, this appearance off ered the long dark artistic tunnel I had been living in. I his space. As the crowd dispersed I had the chance a rare chance to bask in the intimate glory of an decided at that time that whatever I did musically to introduce myself and share Portland connections up close and personal audience with the author from this point on would be true to my musical we had in common. When asked why this show, / auteur who, as one exclaimed, “You wrote the vision, warts and all. Art’s answer was “it’s what I’ve been sound track to my life”. If I were to take the doing for the last twenty years”. I can position of the jaded observer dig it. Whether the crowds are large (which I fl irted with in the early or the crowds are small, the true artist part of this evening) I could report will always continue. that this was a mindless star / fan What the future holds for Art exercise in ego-tripping, idol-wor- and the other members of Everclear ship. I could take this position; seems to be wide open at this point. however I would have to ignore Given current trends in the lifespan of the fact that this gathering is an bands that reach the top of the pops, expression of inspiration / celebra- it would not be unexpected for the tion / salvation of rock-n-roll music, group to disband for the present until an exchange of gratitude between a it is time for their “reunion album loyal following and the man who and tour” just when their audience gave voice to their truth, Everclear’s matures and begins to yearn for the Art Alexakis. nostalgia of their youth. I’m sure It was a night of hits; “Heroin many from tonight’s show will be Girl”, “You Make Me Feel Like A there. Whore”, “Everything to Everyone”, “I It would seem that Art Will Buy You a New Life”, “Father of would have many options; Song- Mine”, and of course the song which Art and Hollywood fan. writer, Producer, Solo Artist, etc. started it all, “Santa Monica”. “Santa photo Chauncene I could hear his music in movie Monica”, a song which touched my soundtracks and television commer- soul, a song which, whenever I hear Given my own brief, yet unde- cials. However, I would not expect his new material today, immediately takes me back to niable, Everclear experience, it should of come as to rise to the chart levels of Everclear’s past work. the fall of ‘95 and the early day’s of my minty-fresh no surprise that the Knitting Factory audience were It’s not necessarily Art’s fault, it just seems to be the sober lifestyle. Art’s bouts with drugs are part of his there not to be entertained by a slick performance, way the industry works these day. It would seem well-publicized back story. I’m sure the adrenaline but to partake in a Gen X hootenanny which an artist gets his or her time in the big leagues and fueled urgency and world-weary, yet hopeful allowed the lines between performer and audience when public’s attention span starts to wane, it’s wisdom of “Santa Monica” connected with my to be loosened up a bit. Art was relaxed and in good time to get out of the way to make room for the own new-found clarity; though at the time I was spirits. On this evening he had nothing to prove. up-and-comers. not sure I knew exactly why. “With my big black Art gave loose renditions of the hits, took requests, Seeing Art’s gentle and caring nature with boots and my old suitcase” is the feeling of hitting invited both male and female members of the audi- the fans made me think he might want to consider the L.A. streets fresh off the bus from Portland. I ence up on stage to dance and generally presented making a children’s record. I know he has kids of remember how cool the guitars sounded on Sparkle himself as the accessible, everyman, that I’m sure his own and I’m sure his inner child in him is just and Fade; focused and powerful but without too fame and chart topping success has not off ered him dying to come out. Just as his fan base is starting much polish. Th e same for Art’s vocals, an update as many chances express as I’m sure he would like. to enter the “settling down” years and thinking of X’s John Doe and his urban west coast drawl. I At fi rst I was not sure what to make of the informal- about families of their own, who better to sing the was curious, so I went out and bought “World of ity. What I did appreciate was hearing the strength kids to sleep, Mr. Heroin Girl himself, the same Noise”, Everclear’s basement debut. I was startled by of Art’s songwriting sans the production that had man who spoke to mom and dad back when they the rawness. It must have taken a lot of courage to become the standard of Everclear’s later recordings. were young and wild. Hey Art, follow your heart; release something so immediate and honest. Obvi- Hearing Art’s solo voice and lone rhythm guitar, I you’ve already won the race, now it’s time to make ously the gamble paid off as it got the band signed could truly appreciate the elegant effi ciency of Art’s a new start. to Capital Records. Th e early success of Everclear Peace! LL

Page 4 - TWO LOUIES, February 2003 TRADEMARKING BAND NAMES: cautions. Th e most common problem is adopting be unique, not only for artistic reasons, but also THE BASIC STEPS a band name that is already being used by another for legal reasons as well. It is much easier to get band or entertainment company. A close second legal protection for unique names like “Jimmy Eat I once told this writer a story about how I met would be situations in which one or more members World” than for more generic, descriptive names the guys in an elevator and found out that we all had of the band leave the band, or the group splits up, (like “Th e Band”). the same last name, so we decided to form a band. and there is a dispute about who has the right to Another consideration is that sometimes you Joey Ramone, Th e Ramones use the band name. cannot even use your own personal name as part SOME TRADEMARK BASICS of the band’s name, since someone else with the inding the right band name can be a tricky process. You not only need to find a name that fits the band well, but alsoF a name that is not already being used by another band. A band’s name will oft en become its most valuable single asset, since a successful band’s name will, in itself, sell records and draw live audiences. Unfortunately, however, many bands fail to take even the most basic and inexpensive steps to legally It’s important to fi rst remember that the legal same name may already have exclusive trademark protect their band’s name, and as a result jeopardize protection of groups’ names is available through rights to the name. If, for example, your legal name their rights to use the name and to keep other bands federal and state trademark laws, and not as a result is James Brown and you include that name in your from using the same name. of copyright law. In other words, a band’s name band’s name, you can be certain that you will hear Th ere are several steps necessary to assure the is legally considered a kind of trademark. Oft en from the attorney for the James Brown as soon as maximum possible legal protection for a band’s the terms “trademark” and “copyright” are used you reach any degree of recognition in the music name. Some of these steps -- such as fi ling a federal interchangeably, however they have completely business. trademark application -- can be pricey, and may diff erent meanings. Trademark law protects names Also, as already mentioned above, it is not be feasible right away due to a band’s limited and logos, including the names and logos of bands. EXTREMELY important to avoid band names fi nances. On the other hand, there are some other Copyright law, on the other hand, protects such that are identical to OR confusingly similar to the steps which are relatively inexpensive, and some- things as artwork and songs. So when we are talk- names of already-existing bands. Another band’s times even free, but which will help a band avoid ing about protecting a group’s name, we are talking name does not need to be identical to your desired unpleasant legal repercussions in the future. trademark law. name for it to cause you major trademark problems. For example, it is very inexpensive to fi le a Here’s another important fact to remember As long as there is a likelihood of confusion among State trademark application (for example, with about getting legal protection of bands’ names: the public between the two names, you have a big the State of Oregon). (Th e fi ling fee for a State of Legal rights to a band’s name, cannot, generally problem. Th erefore, it doesn’t work to just change Oregon trademark application is $20, while the speaking, be obtained merely by sending in a trade- the spelling of the name or to make only minor fi ling fee for a federal trademark application is mark application form. Generally speaking, legal changes in the name. $335). Th ough a State trademark registration off ers rights to a band name can be created only by active Th erefore, once you have decided on a name far fewer benefi ts than a federal registration, a State exclusive use of the name. Th ere is one exception to you like, you must then determine whether the trademark registration does off er some benefi ts, this general rule, though. In certain circumstances, name (or any very similar name) is already being and also will get your band into the various national a federal trademark application can be fi led even used by someone else. For example, you should do trademark databases that are used for trademark before the name is used, due to major changes in an intensive Internet search. It’s also a good idea to check record store catalogues (Phonolog, etc.) and “Here’s another important fact to remember music business directories (like the Billboard direc- about getting legal protection of bands’ names: tories and Pollstar). You should also do a search on the U.S. Trademark Offi ce’s website (www.uspto. Legal rights to a band’s name cannot be obtained gov), but that database only contains trademarks which have been federally registered, and so it does merely by sending in a trademark application not contain all the info you really need. form. Generally speaking, legal rights to a band If the name still seems to be available aft er you have done your research, you should consider, as a name can be created only by active exclusive use fi nal step, having a computerized trademark search of the name.” done by a trademark research company, so that you can fi nd out whether the name is already being searchingsearching andand may,may, asas a result,result, discouragediscourage anotheranother thethe federalfederal trademarktrademark statutestatute backback in 1989.1989. Th iiss iiss used by someone else. Th e cost for a preliminary band in the future from adopting your band’s name called an “ITU” (intent to use) application. trademark search runs approximately $100, and a as their own. In any event, before a band starts actually comprehensive search currently costs around $300- Generally speaking, the following steps must using a particular band name (or fi les any trade- 400. Th is is oft en money well spent. Th e advantage be taken in order to seek the maximum possible mark applications), it should make a serious eff ort of obtaining a trademark search report from one legal protection of a band’s name: (1) When choos- to determine whether the same or a very similar of these companies is that they maintain massive ing the name, try to be sure that no one else is name is already being used by another band. databases containing, for example, all business already using the same name; (2) Once a suitable Otherwise, there is the risk that the band could license records of all the States. name is selected, then have a written agreement spend a lot of time and energy developing public By the same token, you should also be aware among the various members of the band as to recognition of the band’s name, only to fi nd that it of a serious problem area in the area of trademark future legal rights to the name if the band breaks up, has no legal right to use the name. Th e band may researching: the problem of “below the radar or if some of the members leave the band; (3) File also unexpectedly fi nd itself involved in a very screen” bands. Th is problem arises from the fact the appropriate trademark application forms; and expensive lawsuit. that there are thousands of local bands who have (4) Monitor the entertainment industry to be sure Now, back to the issue of what steps are neces- never fi led a trademark application, and who have that no one else starts using the same name. sary to legally protect a band name. never released a record through an established Th ere are various problems that can arise CHOOSING A NAME when a band fails to take the necessary legal pre- A prospective band name should of course Continued on page 17

TWO LOUIES, February 2003 - Page 5 Astor In Paris - 3 Leg Torso Gary Irvine, xylophone marimba player Rob Lewis (who also adds Meester Records percussionist) and acoustic bassist Skip Elliott Bowman help to Leg Torso have been in operation for about seven fi ll out the sound with richness and depth, drawing from diverse years. In that time their structure has steadily evolved and divergent sources. from its original cabaret trio format, into a small As with Pink Martini, a band with which they have much chamber3 orchestra- with an array of versatile musicians, playing in common, 3LT have been profi led on National Public Radio’s an assortment of instruments, creating uniquely exotic works, popular “All Th ings Considered” program; and have performed whose roots now range from Eastern European folk music, gypsy, with numerous symphony orchestras, at some very prestigious klezmer, tango and various jazz and classical references to even venues. As with Pink Martini, it has been a long time between country and blues. their fi rst and second albums. In the case of 3LT, it’s been about Th e primary force in 3 Leg Torso is accordionist Courtney fi ve years or so between their fi rst album and this one. Von Drehle, whose work in local bands such as the Tone Dogs Here, the “Astor” in the title refers to 20th century composer (a group which featured legendary bassist Fred Chalenor and and musician Astor Piazzolla, an Argentian, whose striking legendary odd person Amy Denio) goes back nearly fi ft een years. compositions , generally played on a bandoneon (oft en known Courtney was awarded a fellowship to the Sundance Composers as a “square-headed accordion,” and an instrument popularized Lab earlier this year. Th ere he studied and worked with renowned by fellow Argentinian, Alejando Barletta). In concert chiefl y fi lm and documentary composers. 3LT have already had their with violin, but oft en with other instruments- Piazzolla’s music work appear in fi lms and commercials, so Von Drehle’s studies re-invigorated the tango dance form. In addition, his revolution- will only further enhance those opportunities, to be sure. ary approach to composition, utilizing the fusion of a variety of Violinist Bela Balogh has played with a number of local classical, jazz and various ethnic folk idioms, aff ected a profound bands, including the late great Willies, and an experimental band, infl uence upon several generations of composers and musicians Lobe, in which he fi rst worked with Von Drehle. Exploring his who followed aft er him. Hungarian heritage, Balogh is largely responsible for the ethnic Beyond that, 3LT’s work alludes to the works of an array of Eastern European bent in much of 3LT’s music. other composers and musicians, known and/or arcane, including Th eir original third partner cellist Gabe Leavitt joins the Django Reinhardt and Stephane Grapelli, Raymond Scott, Andre group on several tracks here, alternating with John Hubbard in the cello chair. In addition, regular members, percussionist Continued on page 10

photo Buko

Page 6 - TWO LOUIES, February 2003 y pick of the month is the new Sting in several directions and was fi tted with woven turned around and ran back toward the catcher to record Sacred Love. It has grown ropes of rubber and stretch fabric that gave with fall beneath the wheel as it spun at the last second. on me and now I’m grooving to the weight of the dancers. In the center, there was Th e timing was everything. MaryM J. Blige on Whenever I say your name and a detachable ring that had ropes fanning out in an Th e physical endurance needed to be a Dia- notably hot is Send Your Love and Th e Book of my attractive circle design. Th e dream catcher also volo performer was obvious. Each dancer brought Life. I saw Sting recently on the Today Show with had a shear skin that was tripped, and aft er the something else to the production whether it was his impeccable band of the moment. Katie Couric fi rst dance sections the skin was video archivist, technical director, dance captain, was gushing over him and pulled quickly through the center chef, guitar player, fl ute player, trumpet player. it was his birthday. He ring for a great eff ect. Detachable It was a multi-media company that worked very had on this fabulous parts added to the dream catcher’s well together as a close-knit crew. Th e managing blue sweater. He complexity. Th ey used ropes, a gyroscope director, Jeremy Jacobs was a talented and agreeable looked like person. Th e performer who also wowed me was Rich Bianco. Rich is from my home state of New Jersey and there is something unmistakable about that. Maybe it’s because I’ve been going back east so oft en, that I miss the up-front, honest approach people from the East Coast have. Th ey are not always the most polite people, but at least they are direct and there’s no mystery to their agenda. apparatus that was attached and then removed, I worked props on the show and had a bird’s a million bucks and when he kissed Katie, I was a as well as a rain circle. One section of the hour eye view of the dream catcher. I only had to do a tad bit jealous. andand fi ft eeen-minuteen-minute sshowhow hhadad fewfew tthings,hings, bbutut I ffeltelt vveryery mmuchuch a ppartart ooff I eenjoyednjoyed wworkingorking wwithith DDiavoloiavolo BBalletallet llastast thethe pperformanceerformance aandnd eeveryoneveryone tthankedhanked week.week. WWhitebird,hitebird, tthehe ggreatreat ppromotersromoters ooff thethe crewcrew profuselyprofusely forfor ourour work.work. I likelike cutting edge dance in Portland brought workingworking wwithith WWhitebird,hitebird, eespeciallyspecially KKaylaayla back the Diavolo Dance Th eater from ScrivnerScrivner wwhoho iiss WWhitebird’shitebird’s TTechnicalechnical Los Angeles for the second time. Th is Coordinator.Coordinator. SheShe isis suchsuch a beautifulbeautiful lady.lady. amazingamazing companycompany consistsconsists ofof dancers,dancers, KaylaKayla andand herher hubandhuband recentlyrecently hadhad twinstwins gymnasts,gymnasts, aactors,ctors, aathletes,thletes, bbutut mmostlyostly (a bboyoy andand a ggirl)irl) aalonglong wwithith tthehe ttwins,wins, teammates.teammates. ItIt waswas a greatgreat three-daythree-day run.run. areare h fi rst-bornrst-born ssonon EEmiliomilio wwhoho iiss ssuchuch NotNot onlyonly waswas itit a learninglearning experienceexperience forfor aSheaShe hhasas a vveryery hhecticectic sschedule.chedule. I ddon’ton’t me,me, I ggotot ttoo sspendpend ttimeime wwithith a ggreatreat ggrouproup knowknow hhowow sshehe ddoesoes iit.t. of incredibly talented artists. ForFor moremore informationinformation aboutabout Dia-Dia- Th ee AArtisticrtistic DDirectorirector JJacquesacques H eHeimim i sis volo:volo: www.diavolo.orwww.diavolo.org charismaticcharismatic aandnd ssuchuch a sstar.tar. HHee wawass bbornorn AnotherAnother triptrip toto thethe ‘Big‘Big Apple’Apple’ hashas inin Paris,Paris, FranceFrance andand hashas donedone a millionmillion takentaken thethe windwind outout mymy pocketpocket book,book, things.things. HHisis nnextext bbigig pprojectroject iiss cchoreo-horeo- butbut II’m’m hhappyappy ttoo rreporteport tthathat NNewew YYorkork graphinggraphing thethe newestnewest permanentpermanent showshow forfor CityCity isis sstilltill thethe hhappeningappening sspotpot iitt sshouldhould CirqueCirque dudu Soleil,Soleil, whichwhich willwill premierepremiere inin be.be. I ssawaw WWallisallis SShawnhawn (‘(‘DinnerDinner wwithith JuneJune ooff 2004 aatt tthehe MMGMGM GGrandrand HHotelotel iinn Andre’Andre’ andand ‘Th‘Th ee PPrincessrincess BBride’)ride’) aatt tthehe Las Vegas. MayflMayfl oowerwer HHotelotel wwherehere I wawass sstaying.taying. Th ee bbasicasic tthemeheme ooff tthishis yyear’sear’s pperfor-erfor- I lovelove Th ee MMayflayfl oower!wer! YYouou ffeeleel llikeike mancemance ofof DiavoloDiavolo isis a ‘Dream‘Dream Catcher’.Catcher’. IfIf youyou areare rightright in thethe middlemiddle ofof allall thethe you’veyou’ve everever mademade a dreamdream catchercatcher oror sawsaw action.action. I sspottedpotted PPatriciaatricia AArquetterquette aandnd themthem aatt cracraftft f afairsirs a nandd g iftgift s h oshows,ws, yo uyou kn oknoww herher babybaby girl,girl, andand entourage.entourage. I justjust thatthat theythey areare a craftcraft iideadea tthathat hhasas rrootsoots iinn thinkthink she’sshe’s soso beautifulbeautiful andand seeingseeing AmericanAmerican IIndianndian culture.culture. IIt’st’s usuallyusually a circlecircle herher in ppersonerson in tthosehose rreded sstackedtacked ofof wwoodood oorr mmetaletal tthathat iiss wwovenoven llooselyoosely iinn sandalssandals wawass oonene ooff tthosehose sstartar sstrucktruck thethe centercenter llikeike a web.web. Traditionally,Traditionally, yyouou momentsmoments wherewhere youyou think,think, goshgosh she’sshe’s wouldwould hanghang itit nearnear youryour bedbed oror outsideoutside youryour eveneven pprettierrettier iinn pperson.erson. IItt wwasas iironicronic tthathat eevenven teepee,teepee, aandnd dduringuring tthehe nnightight iitt ccatchesatches bbadad thethe dancersdancers literallyliterally droppingdropping fromfrom thethe celebritiescelebrities havehave toto gogo throughthrough securitysecurity checkcheck withwith “Jacques Heim’s next big project is thethe rrestest ooff uus.s. WWee aallll ttookook oourur sshoeshoes ooffff aandnd wwentent throughthrough thethe scrutinyscrutiny line.line. Th eeyy hhaveave ccertainlyertainly mman-an- choreographing the newest permanent agedaged ttoo ttakeake aallll tthehe gglamourlamour ooutut ooff ttraveling.raveling. My November column advice is to keep your show for Cirque du Soleil, which will nosenose ttoo ggrindrind sstonetone aandnd ddon’ton’t ggetet aangry.ngry. AAllll tthehe doctors,doctors, sagessages andand readersreaders ofof thethe stars,stars, havehave toldtold meme premiere in June of 2004 at the MGM this.this. IIt’st’s nnotot a ggoodood ttimeime ttoo lletet tthehe llittleittle aannoyancesnnoyances Grand Hotel in Las Vegas.” likelike bbills;ills; ttaxesaxes aandnd irirritatingritating ppeopleeople ggetet ttoo yyou.ou. Write to me: [email protected] dreams. Anyway, Heim and Company built a giant dream catcher at a rapid rate. Th e dancers fl ung dream catcher out of steel and aluminum. It spun themselves in unison from the apparatus. Th en they LL

TWO LOUIES, February 2003 - Page 7 t’s a fact plain and simple, I can’t go out to hear a Grisman and Jim Campbell. band without someone on the bandstand being from Off the road at his new home in Portland Portland. For example, I went to a Jack Casady Brumberg created a new central hub for musical showI at The Montage Grille in Rochester, NY-hotbed of fuel creation, a studio and venue called Mississippi cell technology- and Jack mentions that he is living in Los Studios. Angeles and that the other two musicians on stage live in San While driving around Portland Jim found by Dennis Jones Dennis by Francisco and Portland. As PortIand’s touring professionals an old Baptist storefront church for sale at 3939 motor across America inevitably they are ....(intro music) N. Mississippi. After some initial confusion, some Scene in New York. telephone investigation and Private Detective Meet Box Set. An acoustic rock duo and veterans of some two dozen work, Jim located the deed-holding seller down tours across America. Jeff Pehrson, vocalist, guitarist, is the one from SF. Jim in Mississippi and bought the property without Brunberg, vocal/guitar and mandolin lives in Portland. Both of these funny, an agent. Soon a small army of friends, supporters, outgoing and engaging guys are great singers, players and performers. Box musicians, hammer-hippies, tradesmen, craftsmen Set was formed in San Francisco in 1991. For awhile it was pumped up to a and law students converged on the old hallowed five-piece rock band (add bass, drums and B-3) ball to begin the total rehabilitation that is just and they had a recording contract with Mercury/ now finishing up. Capricorn until Seagrams bought the company Mississippi Studios is the completion of a life- and bounced the rookie bands. When the Inter- long dream to create a space for supportive musical net boom faded many Bay area musicians were growth, performance and recording. Check the knocked out of work It didn’t take Jim too long to website for a complete step by step photo record decide that the hurried, crazy life of high Bay area of the construction rent and short dough was too much to take. process. F o n d Right now at the studio you can take a master class from Jorma (10 seats). In the downstairs hall you can enjoy an intimate Jim Brumberg. (60 seats) concert performance by such artists as Dave Grisman, Jim Campbell, Jorma and Box Set. The upstairs recording studio will soon be completed but right now pro- ducers are using the HD3 ProTools set up as a mobile recording unit. “Four big racks and a computer but its the large collection of old analog and tube mics that they call for.” As the subject turns to song writ- ing I discover that Jim has a bunch of credits with numerous indie San Fran- cisco bands as well a song in the Ally Sheedy/Tyne Daly movie Autumn Heart (“Every Waking Moment’). His song ideas come from everyday Jack and Jorma. subjects, conflicts and the funny things people say in memories of past tour conversations. Jim also takes dates thru Portland and the friendly, creative writing assignments such as good vibes of the music scene and cheap Jacks’ request for a song about rent motivated Jim to make the switch, soon his wife, “By Your Side” on he motored north to Portland, Beaver State. the Dream Factor CD. “The Oregon, US of A. best songs come all at once, As a solo act Jim soon found gigs at suddenly but hammered out Aladdin’s, the Roseland and the Laurelthirst. songs can be great too .... pres- In Box Set he worked California and across sure and deadline can create the country opening for such acts as Willie Jack and Jim. inspiration”. Nelson, Huey Lewis, Greg Brown and Hot Jim Brunberg is 36, mar- Tuna. Hot Tuna led to Jack Casady and soon ried and the only child of a pair of Doctors He credits being left “Off the road Jim Brumberg alone, as a child, with musical instruments, as the created a new hub for musical basis for his musical development. Future plans are to get Mississippi Studios established as a stand- creation, a studio and venue alone musical center and to continue to write, called Mississippi Studios”. record and tour with Box Set. Go to WWW.Mississippistudios.com, buy a Box Set was writing and performing on Jack’s debut solo recording entitled concert ticket, enroll in a master class, book some “Dream Factor” studio time. Any way that you get involved be sure as well as touring in support of same. Hot Tuna also led to Jorma, Dave to tell Jim, “Two Louies sent ya”. LL

Page 8 - TWO LOUIES, February 2003 by Robert DuPree August 12, 1957 “High Time” debuted on KPTV Channel 12. That same day another syndicated rock-n-roll dance party called “American Bandstand” premiered on KGW Channel 8. (Editors Note: This story originally appeared in TL in 1981.) in line (laughs). And I was happy to take it over that sudden feeling like I was the greatest thing PTV Public Affairs Director Gene because it meant more money. since sliced bread. Brendler has long been a familiar TL: Plus, it meant you could leave the anonymity TL: How old were you by then? face (and voice) to Portland televi- of the booth, get some recognition. Brendler: I must’ve been about 35. When I came sion Kviewers. Whether seen amiably hawking Brendler: Actually, the station had gone on the air in the first people I met were a gentlemen named Volkswagens and oil filters in local commercial in ’52, and I joined them in ’53, and back then, we Skeets McGrew, who was the show’s director, and spots, or doing his nightly turns on Channel 12’s didn’t have video tape. So I was already doing on-air its producer, Harry Godsil. I just waltzed into it, Ten O’Clock News, Brendler is a hard working pro commercials live in the studio, and was already on and had a lot of fun with it. living up to his image as one of the Grand Old Guys television as a face, as a body, so I really broke into it TL: Were you a fan of the music itself? of Portland broadcasting. gradually. Plus, I had already done a couple of other Brendler: To be honest, I could just barely put Given all that, who woulda thunk that this guy shows for the station, a live dinner show called “See up with it (laughs). It wasn’t my type of music. is the granddaddy of Oregon rock-n-roll video? Here,” which featured me as an MC with a vocalist, However, I had to work with it, obviously, and I Or that he was once referred to as “Portland’s own organist and pianist, doing musical numbers and could listen to it... but it never had that much of a Dick Clark?” local news, and a quiz show called “Wedding Bell,” memory thing for me. Y’know, my memories were Yep, it’s all true. As the fifties became the six- which featured young brides-to-be and gave the from back in the forties, with the big bands. ties, and the New Frontier was busy being born, winning contestant her wedding gown, wedding A lot of the time when we had guests on the Brendler was wooing star-struck teens all over the cake, and so on as prizes. program—like Frankie Lymon, Fats Domino, Gene Northwest as the prime mover and genial host of So, by the time I landed “High Time,” there wasn’t Vincent, Buddy Holly, Buddy Knox, people like “High Time,” Oregon’s first —and only— locally that, it was pretty difficult for me to interview produced, top-rated rock-n-roll TV show, them. I just didn’t know that much about the which broadcast live weekly afternoons music. We were just talking in completely from the Channel 12 studios. different terms. While parents fumed and waited for Of course, “High Time” was a great this new form of musical debauchery to die publicity vehicle for all the groups coming out, Brendler and his 300,000 loyal viewers into town, and a lot of the time they’d arrive knew the truth: Rock-n-roll was here to while the show was actually in progress, so stay, even if live rock-n-roll video wasn’t. I wouldn’t get a chance to actually meet In a recent interview with Two Louies, them. And, though all the kids knew them, Brendler recalled those early days of local I didn’t really know a lot of them by name, broadcasting. so when it came to introduce them, I’d have TL: When did “High Time” debut Gene? to go, “And now, here they are, they really Brendler: “High Time” made its bow need no introduction...” around 1956, back when KPTV was still TL: “Your friend and mine...” an NBC affiliate, and was the first TV show Brendler: (Laughs) Exactly. But we man- locally to feature teenagers in a musical aged a lot of fun. It was a different show format. every day, with different people on, different Dick Clark had started on ABC the circumstances, and it was all live. year before, in ’55, and we took on the Of course, little things were always format. I’m not really sure who first came going on that would spark up the program, up with the idea, or even how it got started, like the 7-Up machine would explode or but the show was an immediate hit with the flats, part of the set, falling down, or the high school kids in the area. wrong cue cards getting put up, things like Actually, I was not the MC when the that. Today, of course, you’d stop, regroup, show first went on the air. I didn’t come on and go at it again, with the viewing audience board until ’57. During that first year, there none the wiser. It was a heck of a lot more were two other MCs: John Lewis, who’s now fun then. with Channel 10, had it for a short time; and TL: Besides the guest artists coming in, then there was Ed Gilbert, who’s now down could you tell us some more about the show’s in L.A. doing commercials. format? TL: So how’d you land the spot? Brendler: Sure. We always come on with our Brendler: Well, at this time I was a booth theme, briefly talked about anything hap- announcer, the guy who says, “This is pening around town that was of interest to KPTV, Channel 12,” and I think I was teenagers (shows coming to town, and so also doing some news. After the first two on), then went right into our first record left, I was just the next logical person Continued on page 18

TWO LOUIES, February 2003 - Page 9 lasting just over sixty seconds. “B & G’s” combines elements of Spanish and gypsy music. Th at feel is continued on Lacuona’s “Danza Lucumi.” Lecuona, probably most famous for the Continued from page 12 pieces “Malaguena” and “Andalucia” (which later became the song “Th e Breeze And I”) is here inter- Popp, Spike Jones, Hector Berlioz, Heitor Villa- preted through a playful, dreamy treatment; one Lobos, Manuel De Falla and Ernesto Lecuona, to that acts as the perfect denouement to an imagina- name but a few. And that’s pretty much the starting tive set of perfectly executed arrangements. point for the eleven instrumental pieces presented 3 Leg Torso’s music is so unusual and so here (nine of which are original). expertly played that it seems to exist completely Th e fi rst cut, “Ba Doum” is a halting number, outside of time and space, in some other dimen- with Von Drehle and Balogh alternating parts. sion: a melodious anomaly Each member’s virtuos- Th e general eff ect is if a blues-based theme along ity lends itself to a steadfastly cohesive presenta- the lines of Gershwin’s “Summertime” were being tion- one which falls well beyond the boundaries fi ltered through Gounod’s “Funeral March of a of contemporary musical tastes and sensibilities, Marionette” (which was used as the theme music spinning obliquely in a dimension entirely unto for the Alfred Hitchcock Hour). itself. In that regard, their music can be neither Th e title track is a madcap number, which compared nor contrasted, but simply admired. alternates between 6/8 and 12/8 time signatures, while Von Drehle, Balogh and Bowman trade off Letting Go Of Strings - Gina Noell solos. Balogh’s mandolin-like accompaniment, Rock Kitten Records strumming the strings of his violin is especially ver the past twenty years Gina Noell effective As the piece develops, the Piazzolla has been in so many bands, with so references become more distinct, as the crazy many different musicians playing waltz comes to a close. Th e klezmer aspect is fully in thoseO bands, that it would be easy to devise a explored in “Zemer Attic/Tanz Tanz Yiddelach,” game called “Th e Six Degrees of Gina Noell.” From which is also infused with a certain Middle Eastern Napoleon’s Mistress in the ‘80s to bands such as fl avor as well. Pop Th eology, Twig and Love Nancy Sugar in the Balogh’s pizzicato arpeggios play against ‘90s, Gina distinguished herself as a vocalist and Bowman’s fast walking bass, behind the dramatic co-songwriter. Oddly enough, aft er all this time, intonations of the Von Drehle’s accordion through this is her fi rst solo album. And, in that regard, for the intriguing melody of “Frog…Secret Agent.” Th e better or worse, this venture is considerably diff er- crazy chase of “Giant Stomp” sounds like the kind ent from any other in which she has participated of wild cartoon music Raymond Scott or Andre in the past. Popp came up with in the ‘40s and ‘50s Exception- For one thing, she wrote all the songs, and ally well executed, a series of intricate melodies are with the help of her husband Michael Cubbon, pro- shared between Von Drehle on accordion, Balogh duced the album, enlisting the services of a coterie on violin and Lewis on xylophone. of local musical luminaries, including Steve Hale With “Bills Last Adventure” Von Drehle and (RIA, McKinley), Lara Michell (Carmina Pirhana), Balog incorporate classic country western har- Jordan Leff (UHF), James Beaton (Everclear, Jeff monies into that charming little waltz. A curious Trott), Joe Davis (Pinehurst Kids), Nathan Khyber change of pace. And “Elliot’s Dream” might serve as (Tales Untold, Absinthe), Keith Schreiner (Dahlia) a fi tting elegy for Elliot Smith, who stupidly took his and Ned Wahl (Chem Lab), among many others. own life last month. A funereal ballad, punctuated In order to fi nance this high profi le project, by the wonderful interplay between Von Drehle’s Gina launched an unique series of well-publicized organ-like tones, Lewis’ vibes, evoking a celeste, private dinners in which, for a small fee, she traded and Balog’s mournful violin Elegantly solemn. her skills as a hostess and cook to willing friends and patrons (usually one and the same), who received a sumptuous dinner, sparkling conver- sation and the promise of this recording (when fi nished) in return as part of the bargain. Sort of a “My Dinner With Andre” meets “Big Night,” with interesting variations Th e dinners, scheduled seemingly weekly throughout the summer months, were a resounding success. Th ey aff orded Gina and Michael the capital they needed to eventually have this album mastered and duplicated. With so many “cooks” as it were, pouring over this particular aural stew, the resulting fare is (predictably) somewhat uneven. While a few tracks give the appearance of being a bit undercooked, many come off quite well. Michael’s drum sample programming is a new twist in Gina’s presenta- tion, which heretofore has always relied upon the services of a living being in the percussion Guest Paul Mazzio lends spectacular trumpet department. Here too, there are successes and phrasings to the escapades of “My Level Water,” lesser numbers. Gina performs admirably in the which, in places, calls to mind Piazzolla’s “Hora encounter with robot drums; locking in tightly on Zero,” and in others, Ellingtons’ “East St.Louis several tracks. Toodle-oo.” An intoxicating blend to be sure. “Le photo Pat Snyder Beau’s Hole” is a frenetic, Keystone Cops-like romp, Continued on page 20

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TWO LOUIES, February 2003 - Page 11 Th e smoking gun… revealed him to be a vivid interpreter of emotional Everclear played the Borealis Th eater Stage at maladies.” the Alaska State Fair in Palmer, Alaska on the last “Heatmiser dissolved in 1996, and Smith date of the Slow Motion Daydream tour. According went on to record three more albums- 1997’s to a board tape making the rounds Art Alexakis Either/Or (Kill Rock Stars), 1998’s XO, and 2000’s introduces the last encore song of a spirited and Figure 8 (both on DreamWorks). Fans of his music extended set with the words: “Th is is the last song include directors Gus Van Sant, who used six of his anyone will ever hear Everclear play. Bands will tunes in his 1977 fi lm Good Will Hunting and Wes come and bands will go, we leave you to draw your Anderson. In an unfortunate parallel, Anderson set own conclusions”. a suicide scene in 2001’s Th e Royal Tenenbaums to From now on it Art for Art’s sake. (See: Jonny “Needle In Th e Hay”, a track from Elliott Smith”. Hollywood P. 4) NNN NNN Another one bites the dust… Th e Elliott Smith tributes are in. The heavyweight that was going to make Elliott’s obit made page 85 of Billboard Elliott Smith a superstar is getting out of the (11/1). business. Wes Orshoski reported “Friends and peers of David Geff en and his DreamWorks partners the late Elliott Smith say the fi nal year of the artist’s Jeff rey Katzenberg and Steven Spielberg have life was an emotional rollercoaster that found him agreed to sell their label to Vivendi’s Universal destined for disaster one minute and high-spirited Group. and fi lled with excitement for his musical future Terms of the deal call for DreamWorks to be the next.” absorbed by Universal’s Interscope label, which “After repeated, intense bouts of chronic means DreamWorks music boss Mo Ostin, a depression and drug and alcohol addiction, that legendary fi gure in the business, best known for ride came to an end Oct. 21. Th at was when the working with fi gures like Frank Sinatra and Jimi acclaimed 34-year-old singer/songwriter stabbed Hendrix, will be reporting to Jimmy Iovine, the himself in the heart with a steak knife at his man who discovered Eminem. girlfriend’s apartment in the Echo Park area of Talk about a stab in the heart… Los Angeles. “Through three albums on the Kill Rock NNN Stars label and two for DreamWorks, Smith sold In the groove… some 700,000 albums in the U.S. Along the way, A limited edition yellow vinyl issue of the he earned rave reviews and registered a deep infl u- Dandy Warhols, Welcome To Th e Monkey House ence on countless acts, including Bright Eyes and was released November 4th on Gammon Records. Dashboard Confessional.” David Bowie’s “Reality” tour with the Dandy Rolling Stone’s Jenny Eliscu related personal Warhols is in full swing across the continent count- experience, “Elliott Smith rarely spoke publicly ing down to the two nights in London’s legendary about his personal demons, but his struggles with Wembley Stadium November 25th & 26th. depression and addiction are documented in many Th e band will be off the road and back home of his songs. Still, those, like myself, knew Elliott in December, until the middle of January when personally will remember him as far more emo- they return to the road with stops in New Zealand tionally complex than even his songs could show; and Australia, he was sometimes sad, but he was also sweet, silly, When it rains, Budweiser pours. Th e brewer generous and strong. named the Warhols Artist Of The month for Entertainment Weekly’s Kristina Feliciano November, which presumably means truckloads (11/7) lamented the “untimely death of rock’s of gratis product… prince of pain”. “Smith-who died in L.A. on Oct. 21 at age 34, NNN in an apparent suicide-fi rst appeared on indie-rock Get in the van… fans’ radar in the early 90’s as leader of the Port- How important is it to tour in support of land, Oregon based Heatmiser. But he was never your record? comfortable with the histrionics of rock & roll and Ask the Decemberists. Th e band just returned made two stripped down solo records on the side: from 28 shows in 19 states including CMJ show- 1994’s Roman Candle (Cavity Search) and 1995’s cases in New York and a couple of pub gigs in Elliott Smith (Kill Rock Stars). Th eir picturesque Florida that probably didn’t seem all that important lyrics, coupled with his Nick Drake-quiet delivery, at the time but were the trip-wire on the national Elliott Smith (1969-2003) photo Buko

Page 12 - TWO LOUIES, February 2003 spotlight. Pierre Ouellette started out in show biz as past twenty years, through the establishment and Band members Colin Meloy-guitar, Jenny a guitar player. As a youth he played lead guitar relocation of Fender’s amplifi er manufacturing Conlee-keyboards, Chris Funk-guitars, Rachel in the 60’s Portland major label act Don & Th e facility in Lake Oswego to the reintroduction of Blumberg-drums and Jesse Emerson-bass were Goodtimes. From there he was tapped for the the Sundholm brothers Sunn line. on the road promoting their second album for Kill high profi le lead guitarist’s role in Paul Revere & He was a good friend to many local artists and Rock Stars, “Her Majesty”. About halfway through Th e Raiders. used his corporate connections to help deserving they played Wills Pub in Orlando, Florida and the Aft er his fl ing in front of the footlights Pierre players… next night in Tampa at the New World Brewery. settled down as a tech writer and eventually Apparently their first live shows ever in partnered to create the powerhouse ad agency NNN Florida were very well received because days later KVO specializing in translating techno-babble THIS JUST IN…Talent scouts everywhere! when Rolling Stone called Hyde and Zeke’s record into people-speak. He used those same skills to Th eNational Association For Campus Activities store in Gainesville for the RS Local Favorites chart, write two well-received techno-thrillers, Th e Deus (NACA) is holding its Western Conference in Port- Her Majesty by the Decemberists came up the #3 Machine and Th e Th ird Pandemic. land November 13th-16th at the Oregon Convention best selling album. Now he’s doing his fi rst fi lm, a documentary Center. Talent buyers from colleges and universities Number three in the Rolling Stone. Worth on guitarists Steve Bradley and Jim Mesi entitled all across the west will be auditioning talent for the the whole trip. “Th e Loser’s Club”. “It’s about a couple of guys who upcoming year. Th e Convention Center auditions Before heading out the band spent time in are really, really good players but who the limo aren’t open to the public but enterprising bands are Seattle’s Hall of Justice studios with Death Cab never stopped for.” Says Pierre. using the opportunity to be seen. EDU, a Portland For Cuties Chris Walla recording an EP for the Th e fi lm will debut in January at the annual based booking agent is holding three days of club Spanish label Acuarela that will be released in Northwest Film Studies music fi lm festival. “Th e showcases. Nov. 13th at Dante’s the NACA buyers February of 2004. wet dream would be to sell it to HBO or Showtime.” will get a load of UHF, Odds Against Tomorrow, Says Pierre. Man Of Th e Year and UFM, November 14th at NNN Dantes EDU presents Timothy Mank, King Of Sadly sacked… NNN Spain, Bella Fayes and Dr. Th eopolis. Novem- Peggy Glickenhaus, popular booker for the More Louie lore… ber 15th at Coff ee people a free lineup of soloists Mt. Tabor Th eater was fi red over the phone aft er Paul Revere & Th e Raiders and the Kings- including Jasmine Ash at noom…Man Of Th e six years of hiring the struggling venue’s talent. men both recorded Louie Louie in the same Port- Year placed the tune “Just As Nice” on the Buff y During her tenure at the Tabor, Peggy became land studio, within the same week. Th e Raiders Th e Vampire Slayer Soundtrack “Radio Sunnydale” a neighborhood hero by organizing successful version came out fi rst on Columbia Records and released everywhere but the U.S. on Virgin Records benefi ts for various causes with Portland’s leading was a bigger hit in the northwest but the Kingsmen’s UK on Oct.20th…Th e Dandy Warhols also made original music talent. version eventually climbed the national charts to Buff y’s soundtrack…Terrance Scott pka Cool Nutz Peggy says she and her husband, musician #2 and rock immortality. is gearing up for POH-Hop 8 December 18th & Alan Glickenhaus, had loaned the club $9,985 and Th e Kingsmen’s version was investigated by 19th. Th is year, the fi rst night will be devoted to were pressing for repayment. the FBI for dirty lyrics, and had none, whereas the Women in Hip-Hop…Stars of Track and Field “We’ll be seeing Bill and Matt in court.” Says Raider’s version does indeed have an obscene ad-lib at Club Ohm November 29th…Lew Jones at Peggy. during the guitar solo. Music Millennium NW Sunday, November 23rd Both local acts were managed by KISN jocks; at 3PM plugging his “Rain On Th e Marshlands” Th e Kingsmen by Ken Chase and the Raiders by re-release from 1981. Recording Associates found NNN Roger Hart. Revere and the Raiders moved to the master in the closet…Smooch Knob appear Seeks Stoner-Rock Bands… Hollywood in ’65 to star on the daily ABC –TV on the morning Marconi Show Friday, November Portland has a new label called Cube Farm run show “Where Th e Action Is” 21st on KNRK 94.7. Th ey play Dante’s November by Alicia J. Rose. Th e label will be a NAIL/Allegro “We used to say the Kingsmen had the hit but 22nd…Dylan Th omas Vance at Millennium West in-house rock imprint and the fi rst release will the Raiders had the career.” Says Hart. Th e Raiders Saturday, November 23rd at 5PM in support of his be a co-venture with the Los Angeles label Bong went on to have 15 Top 40 hits, the last in 1971. latest release “Bittersweet”…Brian Copeland’s Load, who hit big with Beck’s breakthrough single Mark Lindsay, former lead singer of Paul CD Release Party Friday, November 14th at Fuel Loser. Revere & Th e Raiders is doing a Meet & Greet at in the Pearl District. Stephanie Schneiderman In Chris Morris’ Billboard column Th e Indies Music Millennium NW November 15th at 3PM. will open…Sandin Wilson working with Metro (11/1) Alicia says Cube Farm hopes to release six to Free to the public. every Tuesday at the Candlelight. Metro is Jeff 10 albums per year. “I’m looking for classic stoner- Frankel on drums, Kerry Movassagh on guitar, rock sorts of bands, “ Rose says. “I want to fi nd NNN Alex Shakira on keys, Regina K doing vocals with bands that will do well on a national level.” Leo’s stand-in Sandin on bass. Th ink Robin Ford, Yellow Jackets, The acts she’s targeting include “bands Portland lost another music industry heavy- Chaka Khan, Tower Of Power and Sandin’s originals that have been chewed up and spit out (by the weight last month with the passing of the regional from Into My World…Tripleswift at Conan’s Pub majors).” Fender Musical Instruments rep Terry Radon- November 26th… ich. NNN Terry died October 21st at age 58. photo Buko Th e loser’s club… Radonich was the Fender Man here for the LL

TWO LOUIES, February 2003 - Page 13 Types of deals off ered: Varies. Artist roster: Little Sue, Fernando, Warren Pash, Luther Russell Distribution: Valley, Burnside, Redeye, Miles of Music, CD NOW, Amazon. com, Music Boulevard.

Crazy Bastard Records PMB-831 Continued from page 11 16420 SE McGillivray, 103 Artist Roster: Alpha & Omega, Alter Vancouver, WA. 98683 Echo, Bucolic, DJ Spooky, Dry & 360.936.3679 Heavy, Henry & Lewis, Jah Warrior, Email: [email protected] Muslimgauze, Onry Ozzborn, Pan Web: www.crazybastardrecords.com American, Raz Mesinai, Th e Rootsman, Owner: Andrew Bentley Sound Secretion, Systemwide. Types of deals off ered: Tribute Compila- tions Burnside Records Artist Roster Featuring: Village Idiot, 3158 E. Burnside Witch Th rottlegush, Plaid Pantry Portland, OR 97214 Project, Th e Procrastinators, Iommi (503) 231-0876 Stubbs, Little Mission Heroes, Th rescher, Fax: (503) 238-0420 Bastard Children of the Roman Empire, Email: [email protected] N?Jas, Th e Secludes, Th y Infernal, Web: http://www.burnsiderecords.com Hyperthermia, 90 Proof, Th e Delin- Owners: Terry Currier & Jim Brandt quents, Evil Genius, Fall From Grace, Producers: Various Naked Violence, Th e Jimmies, Drain Types of music released: Blues Bramaged, Vaginal Discharge, Genocide Artist roster: Mason Ruff ner, Henry Rapers, Fist Material, Th e Dwarves, Cooper, Paul Brasch,Johnny & the Dis- Drain Bramaged, Bomf!, WitchTh rottle- tractions, John Fahey, M.Doeherty, Mick gush, REO Speeddealer, GBH, Fang, Clarke, David Friesen, Obo Addy, Lloyd John Cougar Concentration Camp, Blag Jones, Too Slim & the Taildraggers, Kelly Dahlia, Stagger, Monkey Fur, Odorus Joe Phelps, Terry Robb, Duff y Bishop Urungus, Dr. Know (featuring Brandon Band, McKinley, Gary Myrick, Sheila Cruz), Corey Feldman, Agent Orange, Wilcoxson Bill Rhoades & Alan Hager, Nerfh erder, Th e Daylights. Bugs Henderson. Distribution: Burnside sub-distributes Criminal Records two Portland based labels: Th e Magic P.O. Box 25542 Wing and Eurock. National distribution Portland, OR 97225 through Distribution North America & (503) 244-5827 Rock Bottom. Contact: Peter Dammann Affi liated Label: Sideburn Records. Types of music released: Northwest Types of music released: Roots Rock Blues, R&B. Artist Roster: 44 Long, Rudy Tutti Gray- Preferred submission: We’re not looking zell, Tommy Womack for new artists. Kinds of deals usually off ered: CD, Cavity Search Records cassette. P.O. Box 42246 Artist roster: Claire Bruce, Paul DeLay Portland, OR 97242 Band, J.C. Rico, Linda Hornbuckle, Email: [email protected] Lloyd Jones Struggle, Dave Stewart, Jim Web: http://www.cavitysearchrecords. Mesi Band, Joe Dobro, Too Slim & the com Taildraggers, Paul Jones, Shade. Owners: Denny Swoff ord, Christopher Cooper Diamond Z Records Types of Music Released:Music we like 16016 Lower Boones Ferry Road, Suite 5 Red Carpet Recording by bands/artists we like. Lake Oswego, Oregon 97035 Artist Roster: Pete Krebs, Pete Krebs (503) 675-1670 & Gossamer Wings, King Black Acid, (503) 635-7355 503.848.5824 Richmond Fontaine, Golden Delicious, E-mail: [email protected] Wayne Horvitz, Steve Lacy, Elliott Sharp, Contact: Steve Landsberg Elliott Smith Elemental Records We’ve been Cravedog Records PO Box 603 122 SE 27th Avenue McMinnville, OR 97128 remodeling Portland, OR 97214 503-474-1704 (503) 233-7284 [email protected] Stop in and see Email: [email protected] President: Cassandra Th orpe Web: www.Cravedog.com Vice President: Robert Wynia Owner: Todd Crosby. Executive Producer: Diogenes Alexan- Producers: Luther Russell, Johnny der Xenos Same great sounds. Beluzzi, Larry Crane, Various Roster Management: Aaron Th orpe Types of music released: Various. Active Roster: Floater, TV:616, Blyss

Page 14 - TWO LOUIES, February 2003 Available: Jollymon, Sweaty Nipples, Fax: (503)249-7842 Henry’s Child, NW Compilations Submission format: We are not accept- Distribution: Direct, Burnside, Valley ing submissions right now. Records Pink Martini / 3 Leg Torso / Le Happy Studios: Gung-Ho Studios (Eugene), www.pinkmartini.com Freq (Portland) www.3legtorso.com Submission format: CD or high quality www.lehappy.com video Offering: Unusual agreements for the IMP Records right bands. P.O. Box 34 Portland, OR 97207 EON Records Owner: John Flaming PO Box 5665 Types of music released: Punk rock. Portland, OR 97228 Kind of deals usually offered: Singles. Email: [email protected] Artist roster: Spinanes, The Shaven, Web: http://www.eonrecords.com Jackknife, Oswald Five-O, Mudwimmin, Owners: Tommy/John Thayer Crackerbash, Calamity Jane, Barbara Producers: Various Lien, A Dick Did. Types of music released: new Artist roster: 28 IF, Dan Reed Jus Family Records Distribution: Nail Distribution/Portland, (800) 757-1851 OR Owners: Terrance Scott, Bosco Kawte Types of music released: Hip-Hop, R&B Eurock Records and any other form of good music. P.O. Box 13718 Preferred submission Formats: cassettes Portland, OR 97213 Artist Roster: Cool Nutz, Kenny Mack, 503.281.0247 G-Ism, Monkey Mike Fax: 503.281.0247 Email: [email protected] Last Chance Records Owner: Archie Patterson Portland, OR Types of music released: License record- (503) 231-2845 ings by European & American artists. Owner: Mark Surratt Preferred submission formats: CD’s. Kinds of deals usually offered: CDs. Lazy Bones Records Artist Roster: Dweller at the Threshold, 9594 First Ave. N.E. Suite 230 Gandalf, Robert J. Horky, Erik Wollo, Seattle, WA 98115-2012 Green Isac, Tim Story. (206) 820-6632 Distribution: DNA North America, Fax: (206) 821-5720 Burnside Records. Owner: Scott Shorr Producers: negotiable Flying Heart Records Types of music released: Everything but 4015 N.E. 12th Ave. Country. Portland, OR 97212 Preferred Submissions: CD’s & cassettes. (503) 287-8045 Kind of Deals usually offered: Full Email: fl[email protected] length CD. Web: http://www.teleport.com/ Artist roster: Headland, Neros Rome, ~flyheart/ Turntable Bay, Blackhead Owner: Jan Celt Distribution: ILS (Mercury), Burnside Producer: Jan Celt Distribution. Types of music released: Original NW Lucky Records/Macman Music, Inc. artists and related projects. 10 N.W. 6th Avenue Preferred submission formats: Demo Portland, OR 97209 cassettes. (503) 248-1988 Kinds of deals usually offered: Album FAX: (503) 227-4418 projects, Publishing of related materials. Contacts: David Leiken, Marlon Other services offered: producer services McClain, and bands wishing to make their own Producers: project by project. releases. Types of Music: Rock, R & B, Funk, Artist roster: Janice Scroggins, Tom Fusion, Blues McFarland, Obo Addy, The Esquires, Artist Roster: Dazz Band, Vail Johnson, Napalm Beach, SnoBud & the Flower Curtis Salgado & Terry Robb, Dennis People, Snobud Comics by Chris Springer, U-Krew, Sequel, Dan Reed Newman, Phillip’s Dream World Network, Shock. coloring book for children, written and Distribution: Independent, City Hall illustrated by Chris Newman, Eddie Harris, Thara Memory. National Dust Records Distribution: Burnside. P.O.Box 2454 Portland, OR 97208 Heinz Records (503) 903-0625 P.O. Box 4628 Portland, OR 97208 USA Phone: (503)249-0808 Continued on page 16

TWO LOUIES, February 2003 - Page 15 (503) 736-3261 Fax: (503) 736-3264 Email: [email protected] Owner: Mike Jones Producers: Drew Canulette, Tony Lash and Brian Berg. Th e band decides. Types of music released: Many. Preferred submission formats: Cassette, DAT. Continued from page 16 Kinds of deals usually off ered: Depends on artist/project/deal. Contact: Shan Artist roster: (current) Vehicle, Jackson Producer: the bands choice. Pollack 5ive, Svelt, Dave Allen, Th e Elas- Types of music released: Punk rock, tic Purejoy, Th e Violets, Torpedo, Th e rock’n roll. Jimmies, Shove, Gravelpit, I-5 Killers Preferred submission formats: tapes/ compilation series features: Sprinkler, records. Dose, Hazel, Spinanes, Saliva Tree, Kind of deals usually off ered: % of Roger Nusic, Marble Orchard, M99, Hit- product pressed. ting Birth, Sugar Boom, Drunk at Abi’s, Artist roster: Apt. 3G, Nixon Flat, Flapjacks, Dead Moon, Diggs, V.O.I.D., Nervous Christians, Jimmies, Low Rent Th e Daddies, Killing Field, Dharma Souls, Lazy Boy. Bums, Red Vines, Rawhead Rex, Wicked Distribution: Profane Existence, Ones, Carl Hanni, Confi dentials, N.A.I.L., EFA (Europe). Crackerbash, Blu-binos, Hellcows, Oily Bloodmen, Gift , K Pants, Everclear, Paisley Pop label Th irty Ought Six, Kaia, Th e Wipers, PO Box 8963 Plunger, Oblivion Seekers, Anal Solvent, Portland, OR 97207 New Bad Th ings, Caveman Shoestore, website: http://www.paisleypop.com Oswald 5-0, Supersuckers. Th e Violets, email: [email protected] Gravelpit, Skiploader, Time Killing who to contact: Jim Huie Isabel, Buttermilk. phone: no Distribution: N.A.I.L. Releases include Girls Say Yes, Th e Quags, Crack City Rockers, Ten Ton Records Foolkillers, Th e Windbreakers, Th e 625 SW 10th Suite 231-C Broken Hearts, and TIm Lee. Portland, OR 97205 We release about 6 CDs a year in the (503) 287-5502 indie and power pop, alt-country vein. Producer: Keld Bangsberg or bands Website also sells CDs from other labels. choice. Types of music released: alternative; all Psycheclectic Records kinds. P.O. Box 8133 Submission format: cassette. Portland. OR 97207 Artist roster: Sweet Baby Onion, Th e 503-295-2776 Willies, Trip 21. www.psycheclectic.com [email protected] Tombstone Records THE ROAD OF LIFE William Weikart P.O. Box 1463 Artist roster:Garmonbozia, James Angell Clackamas, OR 97015 U.S.A. A CD BY CHRIS CHARLES and Obscured by Clouds (503) 657-0929 Fax: (503) 631-2797 AVAILABLE NOW AT Space Age Bachelor Pad Owners: Fred & Toody Cole P.O. Box 10494 Producer: Fred Cole WWW.CDBABY.COM/CHRISCHARLES Eugene, OR 97440 Types of music released: MONO (541) 343-5962 ONLY!! Fax: (541) 683-3524 Mostly original garage and psychedelic, Email: [email protected] raw rock ‘n roll. After It’s Recorded Owner: Stephen Perry. Preferred submission formats: Tapes Producers: Stephen Perry. mixed down to 1/4” reel to reel. DATcas- Get the Cover Made Contact: Spirit Cole sette or high-quality cassette. Types of music released: Swing, Ska, Kind of deals usually off ered: We press Rock, Punk, Acid-Rock. mostly 45s, but can do LPs and CDs. Kind of Deals usually off ered: Depends Artist roster: Dead Moon, Flapjacks, on artist. Spider Babies, Jr. Samples, 8 Ft.Tender, Preferred Submissions format: CD or Hardship, Asthma Hounds, Deadbeat Cassette Hearts. Artist roster: Cherry Poppin’ Daddies, Distribution: Get Hip, Revolver, Buckhorn, Billy Jack. Mordam, NAIL, Subterranean, Burnside Distribution: N.A.I.L., DNA Distribution (CD’s only). 503/282-1682 Schizophonic Records www.buko.net 1620 SE Hawthorne Blvd. Portland, Oregon 97214 LL

Page 16 - TWO LOUIES, February 2003 and/or are forfeiting your application fee without FURTHER STEPS TO PROTECT THE NAME any right to a refund. Whenever you use your band’s name -- for THE DIFFERENCE BETWEEN TRADEMARKS example, on posters and record packaging -- you AND “ASSUMED BUSINESS NAMES” should give notice of your trademark rights. If Continued from page 5 A trademark is a name or logo that the public, you have obtained a federal trademark registra- distributor, and who have never done anything or some signifi cant portion of the public, knows tion, there should be the symbol ® (an encircled “offi cial,” like taking out a business license. As a your band by. On the other hand, an “assumed R) next to the band’s name in a conspicuous place result, these bands will typically not show up on business name” (also known as a “dba”) is the name somewhere on the packaging and in print ads. If, any trademark search reports, yet they very easily you do business by with other businesses, whether on the other hand, a federal registration has not may have established trademark rights to their the public recognizes that name or not. In other been obtained, you cannot legally use the symbol band name, at least in their own local or regional words, a trademark is the name that the public ®, but you can use the symbol ™. For example, area. Other than doing as much research as pos- knows you by, and an “assumed business name” is Nickelback® or Th e Jones ™. sible, there is really no way to avoid this problem; the name that other businesses know you by, akin It will also be necessary to renew your it is one of several risks inherent in the trademark to a company name. trademark registrations aft er a certain period of process. With some bands, the band name and the time -- for example, aft er ten years in connection TRADEMARK REGISTRATION “assumed business name” are the same name. With with federal trademark registrations, and aft er fi ve A trademark application can be fi led with other bands, they may have a company name that years for trademark registrations with the State of the federal government if the name is being used is diff erent than the band name. In either case, Oregon. In regards to federal trademark registra- in interstate or foreign commerce. Under certain though, both a trademark application and an tions, there are also some other documents which circumstances, a federal trademark application “assumed business name” application should be must be fi led from time to time, in order to keep can also be fi led even before the name is used, due fi led. For one thing, banks require you to register the federal trademark registration in eff ect. to major changes in the federal trademark statute your “assumed business name” with the State Finally, you should take immediate legal back in 1989. Th is is called an “ITU” (intent to before they will open a bank account for your band, action if someone else starts using your band’s use) application. unless the band is set up as a separate legal entity name. Otherwise, you run the risk of losing all In addition, trademark applications can be (for example, as a corporation or a LLC (limited legal rights to the name. Names like “aspirin” and fi led in any State where the band is doing business. liability company). “thermos” were once legally protected trademarks, If a federal registration has already been obtained, Trademarks and “assumed business names” but were later lost because the trademark owners of it is generally not necessary to also obtain State registrations, though it is sometimes a good idea “It’s important to fi rst remember that the legal to do so. As I mentioned above, it is not absolutely protection of groups’ names is available through necessary that a trademark application be fi led in federal and state trademark laws, and not as a order to have legal rights to a name. Nonetheless, there are many substantial legal advantages in result of copyright law.” having a trademark registered, particularly if it is cancan eacheach bebe registeredregistered withwith thethe OregonOregon statestate thosethose namesnames failedfailed toto stopstop otherother companiescompanies fromfrom a federal registration. As a general rule, any band government in Salem (in addition to the right to using those same names. desiring to protect its name on a national (or even register your trademark with the federal trademark In short, the following steps should be consid- regional) level should fi le a federal trademark appli- offi ce in Washington, D.C.). ered whenever a band is trying to protect its band cation as soon as it is fi nancially feasible to do so. Th e only reason that I mention this distinc- name as much as possible: (1) First, try to be sure Th is is because the federal trademark statute says tion between trademarks and “assumed business no one else is using the desired name: (2) Have a that your fi ling of a federal trademark application names” here is that sometimes someone will fi le written agreement among the band members as to is legally considered to give national public notice an “assumed business name” application with the members’ rights to future use of the name; (3) of your use of the name to anyone not yet using the Oregon state government and think that they Obtain federal and state trademark registrations, if the name. (Th is is referred to as the “constructive are fi ling a trademark application, or vice-versa. possible; (4) Be sure that your trademark registra- notice” provision of the federal trademark statute.) Th erefore it’s important to keep this distinction tions are renewed when necessary, and that other In some situations, your federal trademark registra- in mind. necessary documents are fi led in a timely manner, tion may enable you to defeat the future trademark AGREEMENT AMONG BAND MEMBERS and take immediate legal action if someone else claims of another band using the same name or a It is CRUCIAL that you have a written agree- starts using your band’s name as their own. very similar name. ment among the band members regarding who can Editor’s Note: Bart Day is a Portland-based In short, the fi ling of the federal application at use the name if the band breaks up, or if some of the entertainment attorney in private practice and is the earliest possible time can give you trademark members leave the band. Experienced entertain- VP of Business Aff airs for Media Creature Music, a rights which you would not have had otherwise ment attorneys routinely include such provisions Los Angeles music publisher and catalog administra- (assuming, of course, that you are issued a federal whenever a written partnership agreement or tion company. He is also outside music counsel for trademark registration based on your application.) incorporation or limited liability company (LLC) Vivendi Universal Games, the computer games unit In a number of instances in which a band has papers are drawn up for a band (most oft en, these of Universal Studios. obtained a federal trademark registration early in days, it’s an LLC agreement). Or, alternatively, and Bart is the co-author of a chapter (entitled its career and then later confronted a trademark less preferably, there can be an agreement drawn “Contracts and Relationships between Major Labels dispute over the band name, the band’s early up that pertains only to the rights of the band and Independent Labels”) in Th e Musician’s Business federal trademark registration enabled the band members in the band name and that doesn’t cover and Legal Guide, a book compiled by the Beverly to keep the band name which it otherwise would the other aspects of the band’s business (such as, Hills Bar Association and published by Prentice Hall have lost. for example, how the band’s income and expenses Publishing (New York). One fi nal comment about the federal trade- will be handled). Th e reader is cautioned to seek the advice of the mark application process: Th e Trademark Offi ce’s Incidentally, it is extremely important that reader’s own attorney concerning the applicability of rules are strict, technical, and unforgiving, and the band agreement relating to trademark rights the general principles discussed in this column to the you need to be sure you are dotting every “i” and be draft ed very carefully, because a poorly draft ed reader’s own activities. crossing every “t”. Otherwise, you can fi nd that provision can easily create many more problems you have either damaged your trademark rights than it solves. LL

TWO LOUIES, February 2003 - Page 17 HIGH TIME OF OREGON ROCK Continued from page 9 so the kids start dancing. We kept the numbers coming in one after the other until about halfway through the show, then we staged our dance contest, then we’d close out the show with more records. So there was a lotta dancing. TL: Was the dance contest a big draw? Brendler: Oh, sure. Kids would come to be on the show from all over the area, believe it or not. We’d get ‘em from The Dalles, from Tillamook, from Longview, Washington—everywhere. If one of these out-of-towners won the dance contest on the day they were on, then they would have the additional expense of coming back Friday to compete in the weekly dance contest for the really big prizes (laughs). TL: Which were? Brendler: Well, Ant Farms were a big prize for a while (laughs). Usually, though, we gave a little portable record player, or whatever, Big stuff. TL: Didn’t you people have any shame? Or was it a case of just not having the budget? Brendler: (Laughs) Budget? I don’t think we had a budget! Oh sure, once in a while we had to go out and buy a particular record to keep current, but most of the records were furnished to us free by the local distributors. Or, if we wanted to specially stage someone, we might spend $20 to dress things up a bit. But, really, outside of the salaries paid for the director and myself, that was it. TL: What was your salary? Brendler: Well, when we started out, I wasn’t getting anything; I was still continuing my full booth shift, which I continued to do throughout the whole run. Eventually, though, I think I started getting around $25.00 a show, maybe $185 a week... and now, of course, we see people like Kathy Smith and other anchor people picking up 50 or 60 thousand a year. Well, no hard feelings (laughs). I gained a lot of experience. TL: Let’s get back to the kids. How many warm bodies were you packing into the studio per show? Brendler: Well, the show started every afternoon at 4:30, and between the time school let out and the time we let them in, we literally had lines around the block. Out of all those, usually only 150-160 were actually let into the studio. On days when we had a very popular artist, though, we really packed them in. There was very little room to dance; just wall-to-wall kids. TL: Did this popularity gratify you? Brendler: Sure it did. These kids got out of school in the afternoon, with nothing to do, and then sud- denly they had a TV show to go to. A lot of them became regulars, as a matter of fact; came down every day to see us and dance. Gene with Buddy Holly and Crickets (top) TL: Do you know what became of any of them? Eddie Cochran (middle) and Frankie Lyman (Bottom).

Page 18 - TWO LOUIES, February 2003 Brendler: Oh, yes. One of them was Jim Trumblin, Vancouver, Tillamook, and so on—though for artists were pros and never let us down. Bobby who later went into the hairdressing business and some reason, we never held one in Portland, except Darin, for instance, loved to come and be surround is now a multimillionaire living in Hawaii. There during the Centennial. At that particular time, the by the kids. He realized the value of a show like ours was Nick Mondrut, who’s now leading his own River Queen was running Centennial cruises up and could always be counted on. band here in town. Jeff Myers... the Columbia and back down the Willamette, two But...I remember we were supposed to have Elvis I’ll tell you a story about our regulars: During hours up and back. So every Thursday night, we’d Presley on, and jeez, the kids just packed the studio. the last year of the show, I had a chance to actually hold a “High Time” dance on the Queen and just Then, actually during the course of the program, go back to Philadelphia and do the Dick Clark pack it. I’d sit up on top with my mike and audio we got a call from him, telling us he wasn’t going Show. KPTV had switched to ABC a couple of years gear, announcing and playing the records—though to show! before, and this was all part of a network promotion I’m sure I was never heard. They heard the beat, TL: For what reason? for affiliates all over the country. So, I show up at the though, and that was enough. Brendler: His guy said, Elvis has been on the train Philly show with Clark, and suddenly I look down TL: Tell us a bit more about the show’s primary all night from Seattle, and he just doesn’t feel as and see these four or five friendly faces smiling up promotional function: showcasing recording artist. if he can make it down... but he will see you all at me! Some of our regulars had paid their way to Do you have any memorable moments? down at the concert tonight! (Laughs) Actually, I Philly and gotten on with no help from me! They Brendler: Gosh. There were so many passing don’t blame Elvis so much as I do the promoters had all become such a part of the program that they through, and the last show was 20 years ago, who promised him. I mean, why make the com- felt it wasn’t really the proper representation of the remember, so it’s difficult...Mainly I remember a mitment if you’re not prepared to deliver? After a “High Time” show if they weren’t there. couple of bad things that happened. I remember few incidents like that, the kids got a little cynical TL: Speaking of promotion, what kind of spinoff that Della Reese was on one day with a number, after a while. “Oh yeah, yea... sure he’ll show!” activities did you have going? and our audio man committed the unpardonable Kids are smart. Brendler: Well, we issued a top 10 list every week, sin on a lip-sync show like ours: He played her 45 TL: But how’d you feel about it? featuring our pick hit, that was distributed point- at 78 rpm. Well, that was pretty embarrassing, so I Brendler: Well, you know...Everyone was out to of-purchase in record stores and such. We tried the thought I’d pass the buck by actually naming him make everything they could, so why not try to book same kind of feature on the show for awhile, but on the air—which turned out to be an even bigger Elvis Presley? Who really cared if he didn’t show? soon found that the kids just got too noisy. Since mistake. Boy, did he get mad! It was like making a reservation on an airline for we really had no way of controlling them—it was The thing that used to really get my goat were us... The kids were wiser. difficult yelling “shut up!” on the air— we found the people who made a commitment to appear, and TL: What kind of exposure did “High Time” give that the show was easier to do if we just kept them then never showed. to local talent? busy and dancing. We also held “High Time” TL: Such as? Brendler: Well, of course we got promoters coming dances outside the studio on weekend nights in Brendler: Now, don’t get me wrong—many of the to us who all claimed to have the hottest thing going and wanted us to get in on the ground floor and promote this guy and we’d share in his success and so on... and a lot of these artists were local types. Continued on page 20

TWO LOUIES, February 2003 - Page 19 want to call it. Th at was all pretty important at HIGH TIME OF that time. No, I did think about it once or twice, maybe bring a show into Portland, but actually I OREGON ROCK just didn’t have the contacts. Th e real promoters Continued from page 19 were all traveling in a diff erent world than the one Continued from page 10 Some of them, like early Paul Revere and the Raid- in which I was traveling. Her vocal/musical influences have always ers, even eventually made good. Another group TL: So you decided you had problems enough just ranged from Deborah Harry to Chrissie Hynde to was the Kingsmen. We probably had Lynn Easton doing the show. Rindy Ross- with a touch of ‘60s girl groups thrown on the show before they even began thinking seri- Brendler: (Nodding) And we had— ‘em. Did you in. Here, with the help of Michael, she adds the ously about going into this business. Lynn and his know that our program fi rst brought to the surface sort of hip-hop styled electronic accoutrements friends had this little local high school group—they vocal prejudice against blacks in this city? one might fi nd on a Dido or Garbage album, while were all going to Douglas or somewhere at the TL: What? About the black artist? adding a bit of techno sheen to the Harry/Hynde/ time—and, at the time we had them, they weren’t Ross New Wave kittenish purr. Brendler: No. Remember we’re talking about ’58, “3-65” is a sort of Blondie and the Go Gos thinking much beyond that. Th en later, of course, ’59 here, and there just wasn’t that much mingling versus ‘60s girl group sort of number, with familiar their record exploded and off they went. Th ere was back then. Th e total belief was that blacks should New Wave eighth-note rhythm guitars. Th e song another young man who I remember as being very stay just where they belonged and not come out to runs through the verse, which, melodically, sounds scared and shaky with his guitar, and when I saw mingle with us holier-than-thou-white children. vaguely like a re-forged modifi cation of “Here him again 15 years later he had all the confi dence TL: Th e dance contests. Comes Th e Sun” (or the familiar chord progression in the world—Jimmy Rodgers. Brendler: Yes. Now, we really didn’t have too many that propels that song) for about a minute before TL: Was featuring local talent the exception rather blacks participating in the show, though I don’t a pretty. Blondiesque chorus briefl y enters into than the rule? remember being any particular problem there. the picture. Th en, aft er repeating that cycle, Gina Brendler: Well, it didn’t happen all that oft en, but Well, every once in a while this kid Joe and his launches into a cut-time bridge, which bears a we felt that to have someone local and live was a curious sort of Spanish fl avor, before heading back girlfriend would show up. Th ey were great dancers, to the verse and chorus. An original admixture of good feature for the program, and when a person and they’d win the dance contest hands down. styles well-presented. and a group came in and sounded halfway decent So just as soon as we’d awarded the prize to Even more of a stretch is the moody torchy to use, we were glad to have them. We fi gured if this black couple, the phones would start ringing. bluesy waltz, “Perfect.” Here her voice seems sort they were playing a date in town in a hall of some We’d get called everything in the book. “You people of reminiscent of Mary Wells, who had a string of size and had reasonable expectation of making are just a bunch of... Well....” hits in the ‘60s, most notably “My Guy,” and Chris- some money, they must have something on the TL: What? “Niggerlovers?” Th at sort of thing? sie Hynde For the most part, Gina succeeds on the ball. Also, we didn’t have to pay them any money Brendler: (Nodding somberly) Yes. You know, it vocal, although this particular style is very new for for their guest shot, which everybody understood was then that I fi rst became aware that there was her. James Beaton’s understated organ and piano up front. Th ey were just happy to get the exposure. such a thing as prejudice; I’d not encountered it up fi ligrees add an elegant touch to the mix, as does As I recall, we turned down very few local people Jordan Leff ’s restrained bass lines- both creating a until that time. sense of dynamic tension. and once they played a number or two we invited TL: How did your sponsors react to that? Did you Beaton returns on “Never Forever,” adding the same assured elements to that straight-ahead “Yeah, we eventually got into a sticky situation ballad, whose sonorous melody indistinctly calls to mind k.d. lang’s “Constant Craving.” Cubbon’s with the musician’s union, who became unhappy hard hitting drum programming and Joel Hanson’s ethereal playing on “Addicted” meld with Michael with our whole playing for free situation.” and Gina’s various layers of keys, amassing a sort them to play some more...if they were any good. every get any pressure from them? of 10CC-like wall of sound. Very nice. Of course, we weren’t in a position to know that, Brendler: Never. Management and the sponsors Keith Schreiner’s programming of a thick, but the kids would let us know. We got entertain- didn’t have anything to do with what went on dreamy mix, nicely pinned down by Ned Wahl on bass, nearly swallows Gina’s vocal in the ephem- ment, they got exposure, and it was a good situation during the show. All those things were up to the eral “Hands Of Fate.” With electronic storms and while it lasted. producer, Harry Godsil, and myself. lightning bolts, swirling and fl ashing around her, TL: “While it lasted?” TL: Was it worth it? satellites whizzing by, Gina evokes Shirley Manson’s Brendler: Yeah, we eventually got into a sticky Brendler: Yes, I think we did make a contribution. coolness in the verses, while warming in the ghostly situation with the musician’s union, who became We gave a fi eld of endeavor to those who were choruses. unhappy with our whole playing for free situation. not into athletics, or whatever else was going on Th e pretty ballad “Break Th e Ceiling,” aug- Finally, in the latter part of the program’s run, we at that age level. It gave them an opportunity to mented by Beaton’s keys and some wonderful guitar had to start going through he business of getting compete, gave them something to strive for. To work by Lara Michell and former Love Nancy Sugar waivers and that sort of thing. So, having to do that come down and be a part of a TV show, to win a member Dave Pakula, is one of the high points of amount of additional work on top of everything dance contest, was really a big thing, especially for the set. Gina fi nds a comfortable vocal range in which to sing; and perhaps a more familiar stylistic else we were doing, eventually limited the number those people who weren’t involved in any sort of territory in which to navigate. Another winner. of local groups we did have on. school activities. Similarly, “Black Fog” sounds like an update of TL: Aft er seeing all these music biz people coming “High Time” gave these kids something Never For Ever-period Kate Bush- again something and going and dealing with their people, did you to do, it kept them off the streets. Music plays a more immediate and intimate, which fi ts Gina ever think about getting into the management tremendous role in the lives of people in that age better. “Heat” continues the retro feel, with ex-LNS end of it? group, and I’m happy that we could give them some keyboardist Stewart Moore’s new wave computer Brendler: Well, I oft en considered it, but I never further opportunity to enjoy it and be part of it. disco dance arrangement, coming in somewhere had the money. (Laughs) Seriously, though, I think TL: And your personal feelings, Gene? between Debbie Harry and Donna Summer, pro- doing that would’ve caused me a problem. Brendler: (Laughs) Th at it was all a phase of my life duced by Giorgio Moroder. An inexplicably abrupt TL: What, confl ict of interest? Clark was having that I got through and thank God I made it! right turn at the bridge temporarily diff uses a great deal of the song’s forward momentum, before his problems in that regard. returning to the exotic chorus, supported by the Brendler: (Nodding) Yes, payola... whatever you LL angular girders of Moore’s relentless keyboard

Page 20 - TWO LOUIES, February 2003 treatments. “Terrified” is a cheerless tale of personal loss Another soft waltz, “Going On” underscores and the cavernous distances which mere living Electric guitars starting at the “show tune” aspect of Gina’s voice, one which often produces in a close, personal relationship. can occasionally pass for a young Liza Minelli, as Reminiscent (more so in spirit than in reality) of often as it can for a younger Chrissie Hynde. The Paul Simon’s “America,” whose despondent land- $139 chorus of “(Look) What I Can Do” is the sort of scapes are mirrored here in clear detail. Guests, Acoustic guitars starting at life-affirming jingle one might hear as the open- Raymond Richards on pedal steel guitar, and Craig ing theme for the Oprah show. Ala Helen Reddy Schumacher on Hammond B3 organ, add to the (whom she also vocally resembles from time to musical general mood of abject despair. $149 time) and “I Am Woman,” Gina comes off sounding The instrumental, “Kelly Bauman” would a bit like “feminist girl,” which actually is a motif seem to be a tribute to the former drummer for which fits Gina’s personae fairly well: smart and the band Harvester, who now sings and plays guitar willful, yet vulnerable and insecure. with the Chico, California-based band Deathstar Amps, repairs, Not every track is out of the park on Gina and who has had some truck with Selzer in the Noell’s first solo album. But just the same, she has past. With his just his own simple acoustic guitar consignments, lessons, successfully updated her sound, without giving up accompaniment and that of Blumberg on piano and the intrinsic timeless qualities of her music. What’s harmony vocals, Adam maps out a barren territory accessories most different here is that Gina fully owns these with vague, enigmatic lyrics “And Jealousy, it’s true, songs, emotionally and artistically, each note and when blue looks different from my brush/But we every word- and that difference is subtly profound. all use the same brand ink/Holidays aren’t enough While growth can at times be an awkward process, to clear the space/And space is all I have to fill my it is ultimately a rewarding one. foreign grace.” Owner GIT graduate A distinctive ambience is created for the pretty Dusk In Cold Parlors - Norfolk & Western ballad “Impossible,” recalling early Leonard Cohen- Run by professionals Hush Records with Richards’ pedal steel guitar and Moreno’s orfolk & Western, named after a mellotron flutes, coupled with Blumberg’s subtle defunct Virginia rail line, are the brain vibes; as well as piano and cello punctuations, make child of Adam Selzer, a soft-spoken, for a rich ensemble behind the plaintive lament of unassumingN writer of all things word. Together the narrative. “Oslo” is especially reminiscent of for five years, the band has congealed into a tight Leonard Cohen, with, perhaps, a hint of Townes and talented quartet whose laid-back approach to Van Zandt. The low croak of Adam’s voice formu- their music belies the fiery artistry that is actually lates the phrases- “ I read the local papers news, at the heart of it. but the relevance seemed more elegant/When the Stylistically, Selzer has a lot in common with sounds of words made no sense/It should have been Colin Meloy of the Decembrists (not the least of the cabinet of defense/But everything so pure, and which is drummer Rachel Blumberg, who plays on even so demure.” both of their albums). Both have a nasally vocal The somber and lovely “Disappear” proceeds delivery that recalls Al Stewart in his heyday in the behind the layers of Adam’s electric and Span- mid-’70s, and more recently, that of Jeff Mangum ish guitars, mellotron; Blumberg’s drums, piano of Neutral Milk Hotel. Both Selzer and Meloy are and vocals, Welsh’s bass and Moreno’s intermit- seymour superior song craftsmen. Their songs are full of tently searing guitar intonations. Using the exotic piquant insights and poetic imagery; accessible, yet Optigan (a revolutionary toy electronic organ for idiosyncratically atypical, uniquely individualistic adults, originally made in 1970 by Mattel) as a beat As a band, Norfolk & Western have been compared sample source, in conjunction with more mellotron to Giant Sand and Yo Lo Tengo, among others. flutes, Adam creates a somewhat bizarre sound TM For their fourth album, Selzer has collected bed for “No Else Where He Can Go,” a brittle cha ten songs and two instrumentals into an album cha colored by Blumberg’s piano and organ tones. which emits the low hum of prolonged desolation, The instrumental “A Hymnal” is a restless shifting locally grown music the peaceful disquieting stillness of time- like the aura of instrumentation, with cello and lap steel rustle of a cold, dry wind upon the parched pages phrasings sifting through the mix. of an abandoned diary, splayed open in the ruins The only real up-tempo song of the set, “The “pure, driving rock and roll” of a deserted house. Like acrid smoke in the air, Tired Words” allows Blumberg the opportunity to “a throwback, but not entirely anachronistic” loneliness and sadness pervade; dust slowly settling demonstrate what a marvelous drummer she is. A “uniquely indigenous” upon old, discolored photographs compellingly odd chorus stumbles onto the verses - S.P. Clarke, Two Louies Magazine Blumberg’s brushes dances upon her snare as if musically tripping over a bucket. “At Dawn Or drum on “A Marriage Proposal,” providing a loco- After Dusk” is a circular little hymn “No I don’t motive action upon the sadly forlorn notion of help with all the time I waste/Time is all I have to Live at the Selzer’s tale of a lonely marriage proposal; a frozen brace myself for the dwell I pretend to possess.” moment which still hovers in the air- a ghost from Well, perhaps that says it all. another age. David Welch’s reticent bass work adds It is the nature of Adam Selzer’s songs that Cider Mill to the halting quality of the song, augmented by they rarely repeat lines or choruses They seem to 6712 SW Capitol Hwy • 503-246-7266 Blumberg’s piano and organ accompaniment, Tony move in real time, like home movies, in a linear Moreno’s slashing electric guitar interjections and progression from start to finish. There is a certain Fri. Nov. 28 the sprightly pluck of Zak Riles’ banjo. cold austerity to Selzer’s worldview, presented A strange and skewed sense of anomie here, as if the third dimension were squeezed 9:30 pm informs the cryptic lyric of “Letters Opened In entirely from the scenes, as if all images were The Bar.” “”Let her open up the jar ‘cause she’s only filtered through a sepia lens. The haunted antique come so far/Letters opened in the bar/Is the light- recollections of a phantom spirit. Grim, grum and Check out our new CD ing ever dim/Let her hope and pray for more, like glum. Gray as a cloudy day. But as precious as the “Many Faces” the vagrants and the whores/Who all seem to come memories of old friends. at and go, but I never learn their names.” A window into a hopelessly bleak world. LL CDbaby.com/SeymourPDX1

TWO LOUIES, February 2003 - Page 21 MUSICIANS CLASSIFIEDS STOP IN ANY PORTLAND MUSIC FREE LOCATION & FILL OUT THE FREE FORM •Working Singer/Songwriter soloist band. Dance, R&B, Contemporary •Looking 4 Fresh Talent. with day jobs. Contact Larry at CarlyDiggs seeking musicians to Rock 971-506-5576 Songwriters, Musicians who would [email protected] form a band. Contact manager Brent •I’m a pro guitarist looking for keys, like to collaborate on Brit infl uenced •Drummer available or working 503-274-2119 bass and drums. Pros only, rehearsal originals. I sing, write and play band only. Pro kit, looks & attitude. •Former Burning Hatred singer space, material. Prog Alt Rock Jazz almost anything. Stu 503-253-1915. Experienced, dependable, can travel. up for grabs. He’s got the looks, 503-644-1117 •Metal bass player. Infl uences I love Rock, Funk & The Blues. gear and attitude to be successful. •Drummer wanted. Odd time Harris, Butler, Burton. Pro gear, Pro Call: 503/347-2182 Disturbed, Mudvayne, Tracy 503- signatures play top level. 30’s-40’s, attitude. No drama or dependencies. •Looking for Alt-Rock bass guitarist. 720-9469 pro only, versatile czes2002@yahoo. 503-656-0582. Must be serious and nice with good •Electric violinist seeks bass com or call 503/644-1117 •Drummer Available experienced attitude. Call: 360/696-4887 or and drums for original project. •Progressive alt-rock jazz group from in all styles. BA in music. I listen 360/896-3603. Infl uences: U2, Dave M. Sting. 503- Europe formed in ‘74 needs west and play dynamics! Please call Bill •Guitar slinger with hot stinging 516-4980 Brian coast tour booker/manager/agent for Mead 603-616-8951. leads seeks progressive Blues •Blame Jim needs a bass player for Fall 2003. [email protected] or •Lead guitarist wanted for established Band or Musicians to jam with. original rock band Call Jeff:971- call 503/644-1117 band. Infl uences: Scots, X, B-52s, Into Moore, Gibbons, Healey, SRV 570-9133 •Active established NW Classic Cramps, Social Distortion, AC/DC, etc. Call Monty 503/335-3617 or •Bassist needed. Flexible. Gig 1-3 x Country band seeks experienced our mothers. Call: 503-201-6877. [email protected] month. Variety. Rock. R&B, Blues. drummer, vocals a plus. Live •Pink Floyd tribute band forming in •Punk band looking for drummer. 503-287-2597 audition available. Call: 360-225- SE Portland area if interested Must be serious. Jerry 503/430-1813 •Drummer wanted call James 503- 0276 or 503-577-7505. call Dilly at 503-654-1917 or Josh at 503/720-2887 693-0607 Cedric, where are you? •Bass player seeks drums, keys to •Guitar Player looking for bass, •Power groove band seeks singer. •Female lead vocalist seeking jam with. Northeast space Weds, Fri drums & guitar players for surf Pro gear, years of experience and musicians for new band. Rock with PM Infl uences: Velvet Underground, music. Call: Keith at 503/232-8785 practice space. Looking for Patton/ strong blues infl uence. Have PA & Pink Floyd, Etc. Jordon 503-285- •Redline 6 needs new members 21- Cornell/Jason 503/957-0357 rehearsal space. Call: 503-679-9055 4848 29, drinkers welcome! •Drummer & bassist wanted to •Looking for Bass player for •Experienced Vocals & Front man Call: 503/705-7567 create a disturbing new sound to Clapton/Bloomfi eld. Call: John seeks high energy metal rock band •A Classic 70’s rock bass player infect the world. 503/356-0191 or Johnson 503-557-0621 that’s ready to record & gig out of will give this band wings. We 503/268-1604 •Experienced female vocalist/ front town. Priest – AC/DC-Maiden. Call are 2 guitars, drummer & singer •High school drummer and person seeking professional, working Dan: 503-231-0363 keyboardist wanted. Blues based

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Page 22 - TWO LOUIES, February 2003 ing rooms. It must have been brutally exhausting North Portland’s famed Cotton Club in the early but he was beaming the entire time, happy to be 1960s while he was a 15-year old Jeff erson High where he knew he was making a diff erence, happy School student. In the forty years since, Frankie has to be with the ones that he loved and with those played keyboards steadily with the area’s top jazz, who loved him. blues and R & B musicians. Since about 1980, In the last couple of years he took to sending his health has suff ered with diabetes that eventually One night a few years later, when Billy out all manner of email notes to various friends led to kidney failure. While dialysis has kept him Rancher and the Unreal Gods were playing at Luis’ and family, oft en words of inspiration, other times alive, the eff ects of the illness have forced him to Club La Bamba Billy Triplett locked his keys in his railing at the wind and the madness of the world. limit his work to only one day a week.

A car. Mario’s immediate response was “What are It was early June of this year when he sent out his benefi t to help with Frankie’s living expenses, as you getting so worked up about?” Without further last such note, telling a number of his friends of well as those of his kidney donor, while they recover comment he applied another of his valuable skills the doctors’ discovery of “lumpy on the brain.” In from the transplant surgery, is planned for Sunday, and Billy had his keys back in short order. Sound- it he wrote: November 16th at the Cascade Bar & Grill, man, musician, artist, poet, philosopher and more, “. . . I could use your prayers or what ever 15000 SE Mill Plain Blvd. in Vancouver. Music he was truly a man of many hidden talents. you do and faith that I am doing the right thing, will be provided by practically every well-known “Mario Cosentino worked for many years at Satyricon, Portland blues artist, and will extend from mid aft ernoon until late at night. For more information coaxing the best possible sounds from that legendary about this event, contact Randy Lillya, at 503-556- stage and more than happy to coach the new faces that 0405 Frankie biography at http://cascadeblues. org/NWBlues/FrankieRedding/FrankieRedding. couldn’t get a chance to learn anywhere else.” htm Rob Shoemaker phone or fax 503-777-0955 [email protected] He worked for many years at Satyricon, coax- your fear and pity and worry only robs us of our LL ing the best possible sounds from that legendary strength, they are best left in a open jar outside so stage and more than happy to coach the new faces that they may like water become part of the cloud ON THE COVER that couldn’t get a chance to learn anywhere else. that becomes tears of rain to feed and clean our Courtney Von Drehle of 3 Leg Torso. The quintet His legacy lives on in the splendid sounds produced home the earth, for pity and worry come from love, releases their second album “Astor In Paris” fusing daily across the globe by a few of these protégés, let love be the stronger, and pity and worry become chamber music, Tango, middle eastern and eastern European folk music. (photo Buko) some now in great demand. strength and Faith . . . fear, fear is just useless -- I Mario fi nally got tired of the club schedule don’t know one good thing it does . . . run from a and took a “regular” job at Rejuvenation, restoring bear, it’s going to chase you, run from a dog, it’s and reconstructing electrical fi xtures. He always going to chase you, run from a chicken, it prob- had some new piece of work to show his visiting ably is going to chase you . . . run from what you friends, something old that he had rescued from don’t know, you get to run full circle, right smack the trash heap or something new that he had cre- dab back into it . . . I need fear like a frog needs a ated from someone else’s old junk. It was during haircut . . . and know this, I will gladly trade three • Established 1979 • this time that the docs discovered the lump on or four years of Life over ten years of existence, TWO LOUIES PUB LISH ING his liver that changed everything. He eventually so I will be making choices that may not please Editor: Buck Munger had to leave his job at Rejuvenation and for a long everyone but have Faith I know what I am doing, Graphics & Photo Editor: Buko time he concentrated on healing his body through and Really at this time in my life, there are only one TwoLouiesMagazine.com Art Director: intention and nutrition, at one point completely set of footprints in the sand . . . I am only the Yes Deb McWilliams baffl ing the doctors who watched his body conquer or No man here . . . I Know this because I Have No Writers: the cancer on its own, something that they could Fear . . . and all who get this please don’t fear for S.P. Clarke • Bart Day • John Dufresne neither understand nor deny. It is to the great credit me, but I will take an ‘Ah Shit,’ coz it’s a Ah Shit N.L. Fogerty • Den nis Jones of the folks at Rejuvenation that they continued to kinda thing and I know the feeling, but it could be Denny Mellor • Robin Rosemond cover all of his medical expenses aft er he ceased to So Much worse... so an ‘Ah Shit’ is ok . . . .” Illustration: Tim Rutter work for them, believing that it was just Th e Right It’s only fi ve months later now and he’s gone Photographers: Th ing To Do (all of you Angry People reading this, on to where we can’t visit just yet. Sometimes we David Ackerman • Buko please take note that Good Folks really do exist out think we feel him smiling over our shoulders and Gustavo Rapoport • Pat Snyder there in the “straight” business world). sometimes an “Ah Shit” is all that we’re left with He spent the summer of 2002 focusing on -- that and our fond memories of a very special Printed by: Oregon Lithoprint getting well and doing occasional sound jobs. It brother that we were fortunate enough to spend a Two Louies Magazine took a toll on him but he was not about to ditch little time with this time around. 2745 NE 34th • Portland, OR 97212 PHONE (503) 284-5931 on life’s splendid opportunities. Unfortunately, as -Dave Grafe Email addresses: the cancer began to show up in other parts of his Editorial: [email protected] body he couldn’t keep up the energy and his last KEYBOARDIST KIDNEY Layout: [email protected] gig was on Valentine’s Day 2003 at the Crystal Ball- Dear Two Louies, Web: [email protected] room, donating his time to help to stage-manage a Frankie Redding, one of Portland’s most © 2003 by Two Louies Magazine. May not be fantastic big-band benefi t show for Artists for the loved blues musicians, is scheduled to receive a re pro duced in any form without the ex pressed Arts. He spent most of the evening running up and kidney transplant December 1st. Frankie learned writ ten consent of the publisher. down the back stairs and halls, helping Valerie Day Hammond Organ playing by watching local Two Louies is avail able by subscription. and the other performers repeatedly negotiate the master Billy Larkin and any traveling musicians Send $35.00 for one year, post paid. stairs and ramps between the stage and the dress- he could. Frankie’s professional career began at TWO LOUIES, February 2003 - Page 23 76TH ANNIVERSARY 1927-2003 CA$H FOR MUSICAL INSTRUMENTS! NEW! LOW PRICE GUARANTEE BUY WITH CONFIDENCE! C.F. LI’L MARTINMARTIN SMALL ACOUSTIC GUITAR

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