MUSIC / MARCH 2000

SLOWRUPTURE LEGEND OF SWEATY HICKS LACKS LATE EIGHTIES

JEFF LABANSKY photo Buko 28 IF OREGON VENUE GUIDE Sam Henry of . photo David Wilds

Page 2 - TWO LOUIES, March 2000 December 1979 to 1999 One Long Journey Through The Portland Music Scene By SP Clarke Part Four: The Late ‘80s Blixeth, who spoke often and broadly of big plans trouble finding lucrative gigs in their home town, After the wild roller coaster that was 1986, it for his acts, with lots of money for support. But despite having a hit album. The same could be said seemed only natural that 1987 would be a year of nothing ever came of the man’s talk and he quickly for Curtis Salgado and Paul DeLay, though they transition and retrenchment in the Portland mu- disappeared back into the woodwork from whence fared somewhat better in the Portland clubs. Local sic scene. Still, it was the year 1987 that saw the birth he came, venues were quickly being overtaken by a new en- and rapid growth of new bands that would later go Portland, often viewed as remote and ingenu- ergy that was emanating out of one club in par- on to flourish through the end of the decade and ous by the rest of the world, was the regular victim ticular. well into the ‘90s, becoming forces in the local scene of low-grade scams. Earlier in the decade a reptil- , swinging into its fourth year of ex- for some time hence. ian charlatan huckster known as Carlo Trentadue istence, had spawned a vibrant alternative scene. It’s indeed strange to look back upon the typi- tried, on a several different occasions, to bilk a num- Besides offering the most varied of musical fare cal monthly music listings of 1987 to see the names ber of bands out of something, although his plans possible (nearly every in town played there at of bands such as Slack, , the Obituar- were so poorly conceived and inanely executed that least once), perhaps paring Terry Robb and the Jack- ies, Killing Field, Nero’s Rome and the Dharma it was never entirely clear as to what his precise als one night, Cool’r and Ed and the Boats the next; Bums all starting the year in the traditional Wednes- intentions were or what it was he actually wanted— Satyricon offered inexperienced bands, of any sty- day “band on the rise” slot at Satyricon. It’s also as, typically, he would be trying to peddle some sort listic persuasion, the chance to play a set during interesting to note that nearly all of those bands of “product” in the local music stores at the same Monday’s “New Band Night.” Those that succeeded were plugged into weekend gigs by year’s end. time. or persisted long enough, graduated to Wednesdays, Still it was the old, reliable bands that com- Still, Trentadue talked of “contacts in LA” and with occasional opening slots on a Thursday or manded most of the headliner gigs. Familiar names “multi-album deals” frequently enough to frighten maybe even a weekend. such as Nu Shooz, Crazy 8s, the Dan Reed Network, off all but the most gullible of fledgling musicians. Owner George Tahouliotis, shrewdly tolerant Cool’r, John Koonce, Curtis Salgado, Paul Delay, And wildfire word of his corrupt status generally and tirelessly fair, became a figurehead in the alter- Steve Bradley and Badly Bradley, the Razorbacks and the Lloyd Jones Struggle remained the promi- nent figures on the scene. But a second tier of bands “With drummer Sam Henry and bassist Dave Dillinger, was quickly rising to the fore. Nu Shooz, riding the wave of success with their Newman was laying the foundation for the entire ‘86 album Poolside, released on Atlantic Records; a gold record in “I Can’t Wait” and a satisfactory fol- movement with the heavy, Hendrix-influenced low-up in the ballad “Point Of No Return,” garnered guitar sounds and dark lyrics of Napalm Beach” for themselves a Grammy nomination as “Best New Band Of 1985.” They then journeyed to Minneapo- spread with such rapidity that it is doubtful that he native community. His club, located in one of the lis to record their second album, Told You So, with ever succeeded at anything other than creating a worst sections of downtown Portland, served as a Prince producer David Z. slight stir— like an ill-wind blowing off a landfill. safe harbor for all disenfranchised artistic types. The Dan Reed Network weighed offers form Other spurious ventures of the sort cropped up Punks and jocks, artists and , regulars and Atlantic and Polydor, eventually choosing the lat- from time to time, but little, if any, serious damage gawkers, leather jackets and sport coats, jack boots ter, while Reed protégés RIA entertained proposals was ever visited upon the Portland musical com- and Nikes— all commingled in a highly charged from Geffen and Warner Brothers. At first, Cool’r munity by these counterfeit promoters. atmosphere of danger and beer. But it was a heady appeared set to sign with A&M, then seemed to Crazy 8s continued their independent success, ambiance, to be sure. settle with Epic for an album deal, before abruptly touring endlessly. They crisscrossed the country It was in Satyricon, where anything was likely switching back to A&M again. The Miracle Work- incessantly, converting students at every college to happen, that something usually did. The volatile ers, decade-long underground favorites, migrated campus along the way to their Ska/ sound. But mix of patrons was nothing, in comparison to the to LA after signing with the indie Moxie label. Ini- a lot of the acts were relegated to the White often disparate natures of the performers. The Jack- tially, the Razorbacks— who were altering their Eagle, with occasional nights at Key Largo, the Dan- als were one of the top drawing bands at the club. sound from toward a tougher, R&B delion Pub and Last Hurrah. They might share the bill with the Razorbacks or style— then John Koonce, became ensnared by the The bands remained vastly popular. The Ra- mysterious Central Oregon “timber baron” Tim zorbacks were a huge draw in , yet had Continued on page 4

TWO LOUIES, March 2000 - Page 3 Pig Champion of . photo Buko Chris and the band. It was a marriage made if not quality. Profoundly gorgeous, she bore a passing in heaven, at least in High Times. Celt proceeded resemblance to Marilyn Monroe, but with more of to produce a long line of recordings for one or the a European look. Still, she was a young woman be- other of the two manifestations, beginning with sieged by demons. Napalm’s Monster, released mid-1987. Her early days as lead vocalist with the band Celt’s Polish heritage served as an excellent were drunken primal therapy sessions, wherein she Continued from page 3 the Terry Robb Band or headline an evening with “But the scene at Satyricon involved far more musical factions lesser known bands or touring National acts. Ei- ther way, they pretty much owned the Satyricon than the aforementioned. Bands with a surlier motif also held stage whenever they played. forth. The wholly sarcastic musings of Poison Idea— The same could be said of Chris Newman’s Napalm Beach; as well as their new alter-ego band featuring the mythically menacing likes of vocalist Jerry A, Sno-Bud and the Flower People. While, with drum- mer Sam Henry and bassist Dave Dillinger, guitarist Pig Champion and drummer Thee Slayer Hippie.” Newman was laying the foundation for the entire Grunge movement with the heavy, Hendrix-influ- entré into for Newman and the boys. That would shriek, rant and scream, as guitarist Rob enced guitar sounds and dark lyrics of Napalm European connection served Napalm/Sno-Bud and Landoll would lead the rhythm section through a Beach— they explored Chris’ more playful side with several other bands quite well in the years to come. high-powered onslaught. On any given evening, Sno-Bud, whose only lyrical subject, with perhaps Through Celt’s encouragement, Newman also cre- Monica was as likely to jump off the stage to punch one exception, was weed. The joys, the woes, the ated several comic books, which helped to expose out some lout in the audience as she was to simply highs, the lows, the love, the need for weed, glori- his abundant talents as a cartoonist, as well as fur- slither down the mic-stand into a limp lump of ous weed. ther his reputation as a true renaissance man. drunkenly exhausted mush. But the raw-nerved Local promoter and musician Jan Celt was in The Obituaries were already developing a brilliance in her occasional focused performance, the midst of building a roster for his newly formed reputation by the end of 1986. By 1987 the band flashed glimpses of the magic she could conjure. Flying Heart label, from which he had recently re- was a force to be reckoned with; as well as a wreck Hockey loving Bruins fan, Rob Landoll, a leased an album by his own Soul revue, the Esquires. to be forced with. Portland had never seen, nor may street-savvy transplant from the tough side of Bos- The Napalm/Sno-Bud catalog seemed as particu- never see again the likes of the enormously talented ton, was the anchor and guardian protector of the larly well-suited for Celt as Flying Heart did for and confused Monica Nelson. Monica had star Obituaries. Through his musical vision, the band

Page 4 - TWO LOUIES, March 2000 developed from an erratic Punk mess into a pow- erful Metal-tinged machine. The additions of drummer Dan Cunneen, late of the Lew Jones Band and , along with Terminally Hip bass- ist John Naylor, helped to solidify the presentation. The Obituaries’ antecedents lay in the vibrancy of bands such as X and , but the guts and the chutzpah belonged only to Monica and Rob. They quickly became weekend headliners at Satyricon, as well as the Long Goodbye; with peri- odic bigger shows at the Pine Street Theatre. Clunking in from the Silverton area, Perfect Circle, named after an REM song, met with a smat- tering of attention from the Portland press in the mid-’80s, before disappearing. But when they re- appeared a year or so later as the hiply named Dharma Bums, they swiftly rose through the ranks, to mandate highly coveted weekend slots at Satyricon, Headed by dynamic lead singer Jeremy Wil- son, the Bums espoused an REM-like Folk dimen- sion in their presentation, but with far more di- rectness, energy and electric drive than their pre- decessors. Wilson’s onstage acrobatics were legend- ary, It was customary for him to leap from amaz- ing heights: from side-fill monitors, PA stacks, light- ing scaffolds, balconies, whatever was available in the moment. Impassioned guitarist Eric Louvre, and the dependable rhythm section of drummer John Moen and bassist Jim Talstra, afforded Wilson a reliable safety net over which he could freely per- form his physical and vocal gymnastics. His cha- risma was so robust, his magnetism so strong, his intentions so affirmative and affirming, Jeremy Wilson could do no wrong. And the Dharma Bums became the toast of the Portland alternative music scene. Dharma Bums. photo Pat Snyder But the scene at Satyricon involved far more musical factions than the aforementioned. Bands Hood River to dish out their zany brand of twisted own vinyl lathe, which allowed him to cut his own with a surlier motif also held forth. The wholly sar- Rock. records, which he proceeded to do with clockwork castic musings of Poison Idea— featuring the Singer/guitarist , along with his bass- regularity. The limitation of the lathe, to produce mythically menacing likes of vocalist Jerry A, gui- ist wife Toody, had struggled for several years to only monophonic records, was of no great hin- tarist Pig Champion and drummer Thee Slayer find the right vehicle for his broodingly paranoid drance for Cole, whose rough-hewn manifestos Hippie; Jerry A’s spinoff Oily Bloodmen, the found- Rock anthems— since drummer Louie Samora’s were not necessarily conducive to multi-track lay- sound experimentation of Michael Lastra’s departure from the Rats to play guitar with the Jack- ers of rich stereo sound anyway. Smegma and the very strange Hell Cows. als. When the Coles elected Andrew Loomis, a well Ed Jones, a mindful rocket in search of an as- The stripped down leather punk strut of Le- known figure around Satyricon, to chair the drum tronaut, was the recurrent master of ceremonies at thal Dose was memorable for the intense basswork position in their new band Dead Moon, they could Satyricon. His circular monologues, vehement dia- tribes, humble band introductions and sometimes awkward segues between sets often lent equanim- “The Obituaries were already developing a reputation by ity to the otherwise chaotic proceedings that were the end of 1986. By 1987 the band was a force to be frequently known to occur about the premises. Ed’s intentions were generally good, if at times reckoned with; as well as a wreck to be forced with. subversive in nature. Still, he was a facilitator for Portland had never seen, nor may never see again the likes the club, instigating performance art evenings and poetry readings— at a time when such things were of the enormously talented and confused Monica Nelson.” far from fashionable or trendy. Brilliant and mer- curial, Ed left and returned to Satyricon several of one Regina LaRocca, who would later go on to not possibly imagine the incredibly long road that times over the years. greater things with the Obituaries. Then there was was about to unfold before them. Another Ed, and Satyricon regulars, Ed and the barroom of the Durangos, with dis- Fred Cole’s unflagging dedication to making the Boats, scored a major coup in March of 1987, tinctive vocals and guitar of Kal Tanner, who trav- honest, original music led to the formation of his when they somehow managed to secure the open- eled up from Salem to make frequent appearances. own Tombstone . The envy of every ing slot for the Pretenders concert at the Civic au- Windsurfer faves the Ultronz journeyed in from musician in town, he had managed to acquire his Continued on page 6

TWO LOUIES, March 2000 - Page 5 The Jackals load in at Satyricon. photo David Wilds

Ed and the Boats. Why not?. They can do it.” business representative for local bands. And do it they did, ripping through an eight- Jeanna Andros, daughter of the “Great Pump- song set that Oregonian music critic Stuart kin,” Dee Andros— one-time head coach and long- Tomlinson later termed as one of the best local per- time Athletic Director at Oregon State University, formances of the year. Their appearance on that guided Cool’r all the way to the label negotiation Continued from page 5 bill, as well as Tomlinson’s positive take on the Boats stage, dealing with Lou Adler of A&M Records. At- in his review of the Pretenders concert, served to torney Cheryl Hodgson, called in by Tony Demicoli ditorium. Iggy Pop was supposed to be the open- officially introduce the quirky band to the general and Alf Rider, who had been managing the band’s ing act. But he suddenly “took sick” mid-tour and Portland community— despite the fact that the local affairs, advised the Dan Reed Network at the had to cancel his Portland performance, four days core of group had been in operation since 1980. managerial bargaining table with . But, before the engagement. When the promoter of the Much of this newfound exposure was directly ultimately, her ministrations only resulted in acri- concert called old friend Sally Custer to ask for sug- attributable to Custer, whose gritty determination, monious recriminations and litigious disputes, al- gestions as to which among local bands might be and long list of connections compiled while work- though Hodgson’s primary contingencies seem to be the securing of a job with Graham Litigious disputes seemed to be the theme at “The Razorbacks were a huge draw in Seattle, yet the third Mayor’s Ball in April 1987. PMA Presi- dent and Ball organizer Jim Miller spent the evening had trouble finding lucrative gigs in their home in a dither, lengthening the Razorbacks’ early Main stage set, only to attempt to cut short Cool’r’s later town, despite having a hit album. The same could set, even as Marlon McClain waited in the wings to be said for Curtis Salgado and Paul DeLay, though join the band onstage; going so far as to demand the elimination of some bands’ Main stage perfor- they fared somewhat better in the Portland clubs.” mances. This was all a concerted effort to prevent the the right replacement opener for the show, Custer, ing at the Paramount in the late ‘70s, were invalu- Ball from going past the listed midnight closing who had only recently become the Boats’ advisor, able in gaining for the Boats a visibility they had time, whereupon IATSE union workers at the show blithely nominated her act. Unsuspecting, the pro- previously been unable to achieve. Custer was one would start drawing unscheduled overtime com- moter mulled the idea over for several minutes be- of several women in the Portland music scene who pensation for which Miller had made no provisions. fore consenting to the rather off-beat idea. “Yeah, took on the administrative role of manager and Mutiny and rebellion among the volunteer staff of

Page 6 - TWO LOUIES, March 2000 Caryl Mack. photo Gustavo Rapoport stage managers and crew, foiled Miller’s endeavor The last of the vital clubs in the scene that breakup of Mien Street, Margaret and Mary Linn, to undo the havoc he himself had managed to cre- erupted in the early ‘80s, the club whose legacy ex- who had acted as Jack Charles’ backup singers, ate throughout the course of the evening. tended back into the ‘70s, closed. Concurrently and, stepped to the spotlight with a band of their own. As the year 1987 progressed, the Portland club as if to signal the definitive changing of the guard, The Linn sisters came from a musical family. roster metamorphosed as well. The Last Hurrah, and the released on the indie Their older sister Susan was a well known singer, as long a bastion of the popular music scene, was Enigma label (which had recently signed a distri- was their older brother Dan, who fronted several forced to close. Owing to the ceaseless pressures bution deal with BMG), Follow Blind, their seventh bands of his own— most notably Shakey Louie. born upon them in contending with the bureau- album. Their younger brother John was the bassist in Linn. cracy of City Hall’s urban renewal schemes, greedy In the wake of the departure of Last Hurrah Still, the sisters, beautiful and talented, were a hot landlords, rising operating costs and a gradual from the club horizon, Key Largo supported many commodity unto themselves. Their stage move- change in the landscape of the scene they had of the orphaned acts; while Eli’s, briefly 3rd Avenue ments, which appeared impeccably choreographed, helped to spawn, the owners, Michael and Peter before reverting to the Eli’s moniker under new were actually extemporaneously intuitive. Their Mott, decided to retire the establishment in June ownership, was a port for others. One of the bands perfect vocal harmonies were a gift of nature. The of 1987. that migrated to Eli’s was Linn. Displaced after the Continued on page 27

TWO LOUIES, March 2000 - Page 7 On the cover Eric had it down, he was ready to hand man and the KISS production manager. Any this month is Portland record. The drum sound Jeff wanted kind of Amp or effects pedal I wanted it was there, Guitar hero Jeff La- was off the first Smashing Pumpkins lots of vintage stuff I wanted to try lots of things. bansky. album Gish. And between Dennis On the song ‘Jade’ about my daughter I wanted a Jeff has been Carter, Sean Norton and Tommy they Neil Young guitar sound, like ‘Southern Man’ and rockin’ ever since I can were able to get that sound from Den- ‘Ohio’, Pat Regan (who had just finished engineer- remember. Now Jeff nis’ drums. The bass tracks were laid ing Jeff beck’s and Ritchie Blackmore’s latest has a new CD out that down by Bob Esch and Jess Ruggles, projects,) did all the orchestration and he wants everyone to both past band keyboards, he knew just how to mike all hear. these amps at once to get the right Its been sound.” says Jeff. “We used a Mesa awhile (a year and Jeff Labansky Boogie, a Vox AC30, A Fender Twin and a half) but the new a Marshall. Then Pat miked all the amps Jeff Labansky project by Buko at the same time and combined them all 28 if is now in the mates of Jeff into one channel. That’s how we got the sound on record stores. This is from the Salem area. Once the Jade which is the exact sound on the beginning of Eon Records second re- basic tracks were completed it ‘Ohio’.” lease to date the first being was off to Hollywood where Being in Hollywood wasn’t all fun and games Black’n Blue’s live CD at they would add the guitars and either. Tommy worked Jeff really hard. As it turned Key Largo. 28 if is having a vocals, and put the finishing out Tommy didn’t like one of the songs. Jeff just record release party March touches to the recording at happened to have one more stashed away called 17th at the Roseland Grill. Patrick Regan’s studio New “Free”. Well Tommy liked the verse but not the cho- Jeff opened for Gary Hoey Century Media. “This is the best rus so Jeff had to come up with five new choruses Feb 8th at the Roseland Grill production I’ve done, I love the in five days until Tommy was satisfied. Just in case and had an absolutely fabu- sound of the CD,” says Jeff, “it’s you are wondering, since there is no “Free” on the lous reception from the not an explanation tape, you 28if CD the song is now called “Instigator”. I asked crowd. Which pleased Jeff to know, the kind you have to ex- Jeff if he thought his song writing was better now no end. “ I thought maybe plain why it doesn’t sound after this experience. “Definitely” was Jeff’s reply, they forgot who I was but it quite right.” “my song writing has especially matured lyrically was great.” Jeff mused. The first CD release party was held in Salem at Tommy John’s last De- “Originally the idea was to keep cember. Eon flew up Eric Singer the whole project in Oregon, for the show, Pat Young played bass and Tommy Thayer played since Jeff and Eon both call rhythm guitar. “We had a big Oregon home. As it turned out heavy guitar sound in a small club it was like Tool playing my stuff,” just the basic tracks were quipped Jeff. recorded in Falcon Studios, Jeff’s latest project started when Tommy Thayer an old friend here in Portland...it was off to (and one time band mate in Black’n Blue after Woop Warner Hollywood where they would quit) signed Jeff to Eon records. Jeff add the guitars and vocals, thought he had the 15 tunes ready to go for the CD. But Tommy said and put the finishing touches no and 40 songs and 3 months later to the recording.” Tommy, the producer of the project was able to choose the best 10. Now Jeff used an old the old Labansky was really shallow boy meets girl they were ready to record. Les Paul that was crap. Now I have songs like “Devil” about my ex, Originally the idea was to keep Tommy’s to put down and “Chosen One” which is an anti-suicide song. the whole project in Oregon, since Jeff most of the guitar After the Seattle bands and the Cobain thing it and EON both call Oregon home. As tracks, the rest of the seemed the message was that suicide was OK, and it turned out just the basic tracks were equipment in the its not. “Chosen One” is a positive message, that if recorded in Falcon Studios, here in studio the amps and you fall just get back up again it will be alright. Portland. These first sessions took a little various gizmos all This definitely Jeff’s best work to date and he longer than anticipated and time ran had KISS stamped is hoping that he can get some major label interest out. Falcon was booked solid and the rest on them. “Tommy like Slowrush. The music is a blend of the old and of the project was finished in Hollywood. had access to all the new. Gene Simmons referred to it as Smashing EON flew up Eric Singer of KISS fame to this KISS gear be- Pumpkins meets . So do Jeff a favor by play the drums, and according to Jeff he ing Gene going out and purchasing the 28if CD and you to was phenomenal. Just a few rehearsals and Simmons right will be pleasantly surprised by Jeff Labansky’sLL lat- est endeavor. Page 8 - TWO LOUIES, March 2000 PROTECTING YOUR BAND’S NAME will get your band into the various national trademark legal right to use the name. databases that are used for trademark searching and Now, back to the issue of what steps are neces- Sometimes one of the more challenging things may, as a result, discourage another band in the fu- sary to legally protect a band name. about starting a new band can be coming up with a ture from adopting your band’s name as their own. CHOOSING A NAME good name for the band. Usually the name selection Generally speaking, the following steps must be A prospective band name should be relatively process is not exactly methodical, as illustrated by the taken in order to seek full legal protection of a band’s unique, since it is much easier to get legal protection following comments: name: (1) When choosing the name, try to be sure for unique names like “Smashing Pumpkins,” than for I wake up some nights and think, “Orchestral that no one else is already using the same name; (2) more generic, descriptive names (like “The Band”). Manoeuvres in the Dark”? What a stupid name! Why Once a suitable name is selected, then have a written Another consideration is that sometimes you did we pick that one? agreement among the various members of the band cannot even use your own personal name as part of —Andy McClusky as to future legal rights to the name if the band breaks the band’s name, since someone else with the same We didn’t even know we were until up, or if some of the members leave the band; (3) File name may already have exclusive trademark rights to the [first record] came out. —Mike Love We didn’t realize that with eleven letters in Brownsville, most of our marquee appearances at rock/ hippie theaters would have our name reduced to “Brown Sta” —Cub Koda, guitarist, on his days in Brownsville Station [On the naming of ’s backup band, ]: . . . We did consider the name “Beetles,” but Jerry [Allison] said, “Aw, that’s just a bug you’d want the appropriate trademark application forms; and (4) the name. If, for example, your legal name is James to step on,” so we immediately dropped that. Monitor the entertainment industry to be sure that Brown and you include that name in your band’s —Niki Sullivan no one else starts using the same name. name, you can be certain that you will hear from the Yeah, they thought that we were a low-rider These various steps will be discussed in more attorney for the James Brown as soon as you reach band—they thought we were “Die Cruisin.” detail below. But it is important to first cover a couple any degree of recognition in the music business. —Dan Kubinski, Die Kreuzen of basic principles of trademark law. Once you choose a name, you must determine whether the name is already being used in the enter- “A band’s name will often become its most valuable tainment business. For example, you can check record store catalogues and music business directories (like single asset, since a successful band’s name will, in the Billboard directories and Pollstar). If the name still seems to be available after you itself, sell records and draw live audiences.” have checked with these sources, then it is highly ad- visable to have a computerized trademark search done If you look at all these band names, they’re just SOME TRADEMARK BASICS by a trademark research company, so that you can find really stupid names; and the more stupid the name, the It’s important to first remember that the legal out whether the name is already being used by some- more outstanding it is, I guess. Or the more memorable. protection of groups’ names is available through fed- one else. The cost for a preliminary trademark search —Keith Morris, The Circle Jerks eral and state trademark laws, and not as a result of runs approximately $100, and a comprehensive search I once told this writer a story about how I met the copyright law. In other words, a band’s name is legally currently costs around $300. This is almost always guys in an elevator and found out that we all had the considered a kind of trademark. Often the terms money very well spent. same last name, so we decided to form a band. “trademark” and “copyright” are used interchangeably, Incidentally, you should also be aware of a po- —Joey Ramone, The but they have quite different meanings. Trademark tential problem area, which we can refer to as the prob- law protects names and logos, including the names and lem of “below the radar screen” bands. This problem Finding the right name is, of course, very im- logos of bands. Copyright law, on the other hand, pro- arises from the fact that there are thousands of local portant. A band’s name will often become its most tects such things as artwork and songs. So when we bands who have never filed a trademark application, valuable single asset, since a successful band’s name are talking about protecting a group’s name, we are and who have never released a record through an es- will, in itself, sell records and draw live audiences. talking trademark law. tablished distributor, and who have never done any- Unfortunately, however, many bands fail to take even Another important fact to remember about get- thing “official,” like taking out a business license. As a the most basic and inexpensive steps to legally pro- ting legal protection of bands’ names: Legal rights to result, these bands will typically not show up on any tect their band’s name, and as a result jeopardize their rights to use the name and to keep other bands from using the same name. “The legal protection of groups’ names is There are several steps necessary to assure total legal protection for a band’s name. Some of these steps available through federal and state trademark — such as filing a federal trademark application — laws, and not as a result of copyright law.” can be a little pricey, and may not be feasible right away due to a band’s limited finances. On the other a band’s name, cannot, generally speaking, be obtained trademark search reports, yet they very easily may have hand, there are some other steps which are relatively merely by sending in a trademark application form. established trademark rights to their band name in inexpensive, and sometimes even free, but which will Instead, legal rights to a band name can be created their local or regional area. Other than doing as much help a band avoid unpleasant legal repercussions in only by active exclusive use of the name. Therefore, research as possible, there is really no way to avoid the future. before a band starts actually using a particular name, this problem, and it is one of several risks inherent in For example, it is very inexpensive to file a State it should make a serious effort to determine whether the trademark process. trademark application (for example, with the State of the same name is already being used by another band. AGREEMENT AMONG BAND MEMBERS Oregon). While a State trademark registration offers Otherwise, there is the risk that the band could spend As mentioned above, it is critical to have a writ- far few benefits than a federal registration, a State trade- a lot of time and energy developing public recogni- mark registration does offer some benefits, and also tion of the band’s name, only to find that it has no Continued on page 20

TWO LOUIES, March 2000 - Page 9 my friend. They were right under my nose all along means by which they are delivered, calls to mind and I didn’t even know it! everything that is good and uplifting about bands Henry Curl. Remember that name. You will such as Radiohead and . be tested later. No, Henry Curl is not the name of Producer Steve Sundholm adds only the bar- Pip’s father in Great Expectations. Henry Curl, he est of keyboard flourishes to Dizzyfish’s unique gui- of the Dickensian monikker, is the name of the lead tar textures. Much of what sounds like a keyboard singer, guitarist and lyricist for Dizzyfish. His ap- isn’t. “Pepeto” rides in on Endicott’s insistent snare proach to a song, both lyrically and vocally is quite and a percolating guitar figure. With octave leap- “Certainly Dizzyfish will not appeal to everyone. Nothing does. But for music lovers who prefer scrupulously artful bands with something to say and the musical means to express their clever ideas, then the new band Dizzyfish has a great deal to offer you.”

akin to that of Thom Yorke of Radiohead. Availed ing ease, Henry Curl unfurls a cynical lyric. “Call- of a supple vocal instrument with a considerable ing senators and debutantes/You better watch out range, Mr. Curl makes evocation an avocation. He you might get what you want/ I had a vicious causes the rich fiber of his superb poetry to come dream/Calling holy rollers, rolling on/You better alive in carefully woven songs. think twice when you try to con the con/I had a His accomplices, Chris Hayes on guitar and vicious dream.../Calling migrant souls subject to occasional mandolin, Matt Rogers (presumably not youth/You better behave and disregard the truth/ I the lead guitarist for the Miracle Workers, of the had a vicious dream.” A brilliant bridge, preceded early ‘80s Portland Punk scene) and drummer Jake by a vibrant guitar solo make of this track a win- Endicott, are not junior Radioheads. This is not a ning introduction to a great new band. Dizzyfish— Dizzyfish Radiohead clone band. Not in the least. But the Sonorous, Country inflected guitar tones set Self-Produced depth in the lyrics and the intelligently well-crafted the mood for the plaintive “Reunion.” A strong cho- You know, it was just rus pulls together lolling verses, building to a suc- the other day, in a dis- cinctly pointed bridge. A short and cussion with a friend, pretty song. But the highpoint of the I was explaining that set is the brilliant “Grounded I was beginning to (Endflight),” a foreboding number feel jaded, that augmented by jittery clavinet and ee- nothing much of the rie, heavily reverbed guitar stabs. A “product” I was re- galloping electric rhythm guitar ceiving to review pushes the syncopated was totally knock- drums. Concise ing me out. “ My verses, carefully con- friend replied, structed, swell to- “Maybe it’s not you at ward a gorgeous cho- all, but the product rus and four bars you’re receiving. “ I of inspired gui- gave his notion some tar solo. An- thought for a mo- other verse ment, then la- and a double mented— “I just repeat of the wish Portland had magnificent bands that aspired to be chorus com- Radiohead or something, pletes the song in anything but the new Wilco just under three-and-a - or REM.” half minutes. A true master- I believe it was last November that publi- piece. cist Lisa Lepine sent me Dizzyfish’s four song The final track, “Lunar Song,” begins CD. She was quite excited about the young quar- with lush 12-string acoustic guitar chords cas- photo Buko tet, but owing to some protracted upheavals in cading across the glen as Henry Curl hearkens a my real life, I was unable to listen to their al- clarion call in a delightful pastoral melody through bum. Which is a downright shame. You see, I like the verses. Sweet mandolin filigrees and piquant pi- Niven. to be the first to seize upon such things and Dizzyfish is precisely the band I was wishing for to Continued on page 22

Page 10 - TWO LOUIES, March 2000 Since I fell for you. Yeah, it’s clearly a time of father, Grandmother and Ona. In her sweet tones Opening for Dan Hicks meant that John played to love. Since I last wrote I’ve been to Vancouver B.C., and perfect diction with no curse words or slang, a full house, but their contrasting styles were quite Seattle, WA, won an election, started a writing gig she made a deep impression on me and I decided evident. Dan Hicks got on stage after Herrmann on the Internet, saw Crosby, Stills, Nash & Young, then and there, that if we went anywhere else, we did a respectable set and started out by imitating Reba, Chris Cornell, The Af- were taking the girls with us. In Herrmann’s last song,”My Merry Go Round”. John rican Amerikan Ballet, Rai- May Siriamrit is having an exhibit sang very passionately the words, “say why would sin In The Sun, Dan of her paintings at Galeria anybody else they want to be me. Why be anyone Hicks and Turtle, Aritistas that will be curated by Judy else but little ol’ me, why would you want to be Walt Curtis, me?” Hicks did a snide imitation of Herrmann’s song just long enough to have the audience in stitches, except for my friend Radar who was mor- tified. Radar was not amused that Dan Hicks Rosebud seemed completely irreverent, jaded, bitter and frankly.....old. Radar, who’s in his early twenties and likes healthy, happy, people didn’t get it. Dan Hicks John Andre Galbraith. For the show, Siriamrit is working on a is not an exemplary study of hale, hearty, youth, Herrmann, Diavalo new body of work that has Yoni’s(the vagina) that but I tried to explain to Radar the history of hu- Ballet from and Christina Agulera (Not look like Jelly Fish and are as erotic as all get out! mor in Dan Hicks work. It took a while for Radar to mention The Sopranos). I try to get the heck Siri recently went to St. Marks Cathedral in Seattle to even begin to like it. In fact, I don’t think he left out of Portland, have a change of pace and get a where Desmond Tutu addressed the whole con- liking Dan Hicks at all. Oh well, I saw Michael J. perspective. But now it seems like I’ve started a gregation with part of Nelson Mandela’s presiden- Kersey there enjoying the show. He was completely whole new lifetime in three weeks. I know that ev- tial inauguration speech. The speech written by sweet and polite. Jamie Leopold, one of my favor- eryone else must be going through just as much in Marion Williams, talks about “Being everything ite Portland people was sitting back stage with Dan their own world, but 2000 so far, has been over- you can be!”. Tutu was addressing the congrega- enjoying the event. Jamie has seen it all and obvi- whelming. It’s quickly turned from a solemn Janu- tion and revolutionizing the Episcopal Church by ously loves Dan Hicks very much, they both seemed ary, to a spring like February. Talk about a learning proclaiming on openly gay priest Dean of the Ca- very amused with the venue and the fantastic turn- curve. Has there been a shift? You bet there has. thedral. Wow! out. Anyway, I like this John Andre Herrmann guy. My advice this month: Love yourself first. It’s the My pick of the month was seeing John Andre He took Dan Hicks’ mimicking like a gentleman. I only way you’ll be good for anyone else. Herrmann open for Dan Hicks and Turtle at the love the “bad” boys of our musical world like Dan I made a trip to Vancouver, British Columbia with Siriamrit Krosen, my artist/painter friend “My pick of the month was seeing John Andre from Seattle. We went shopping and I met with John Avery, the Artistic Director of Banff Centre Herrmann open for Dan Hicks and Turtle at for the Arts in Alberta, Canada. It was a momen- the St. Johns Pub...Opening for Dan Hicks tous trip and just going to Canada for the day and seeing that incredible city, was good for us. The meant that John played to a full house, but drive was effortless and Siriamrit is such good com- their contrasting styles were quite pany. We had lunch at a hotel where the bartender was drinking more than the customers. Apparently evident...Hicks did a snide imitation of it’s okay for bartenders to drink on duty in Canada. Herrmann’s song just long enough to have the We met a few locals and they all had a smashing sense of humor. The Canadians have intriguing audience in stitches, except for my friend accents and smoking is still allowed. Radar who was mortified. Radar was not In Seattle, I stayed at Siriamrit’s house in Fre- mont with her two beautiful daughters Amar and amused that Dan Hicks seemed completely Ona. We enjoyed such a girlish week end. We had irreverent, jaded, bitter and frankly..old.” a slumber party of sorts when Siriamrit’s oldest daughter, Amar stayed up with us until the wee St. Johns Pub. I went with my friend Radar who’s a Hicks/Jeffrey Fredricks/Steve Weber/Brian hours of the morning, having a heart to heart and big fan of John Andre Herrmann. Radar gave me Jonestown Massacre, but John Andre Herrmann many giggles. It’s quite delicious to stay up late with his copy of John’s new cd, Elephant Country to lis- is very sincere, a good singer and is sexy like you children, who at the age of nine are like angels. ten to and he kept after me to come with him to wouldn’t believe. Especially for a bald guy. Man, Everything about them is a fine line between child- see John perform live while he was on tour here in oh man, take me to see John Andre Herrmann hood and puberty. Amar has the sweetest face and Portland. After listening to the cd the first time, I again and I will be singing “Why be anyone else... the bluest eyes. She adores her mother and her little felt like John’s music was almost too sweet for my see all you can see c’mon angels see all you can sister, but obviously feels like she’s the responsible taste, but then I listened again and found myself see love all you can love try all you can try c’mon one. Ona, the petite little sister and who Amar freely falling for his melodies. Herrmann was born in babies try all you can try live all you can live. El- admits will be telling stories about for the rest of Toowoomba, Australia, the son of an exploration ephant Country is available for purchase at her life, is actually the tough one. Amar and Siri geologist. John lived in Bogota, Paraguay, Indone- Amazon.com, MP3.com, BarnesandNoble.com warned me not to anger Ona because she’s incred- sia and Europe where he had a band ‘All Quiet”. and Riffage.com. ibly stubborn and can pout for days convincingly. He’s now a solo singer/ and lives in Red Adios! I’m on my way to Mexico, but write to Amar told me the most hysterical stories about her Lodge, Montana and truly, is quite a man. I mean me: [email protected] family, school and going to see Fantasia with her in an indie/folk/new age/foreign guy type way. LL

TWO LOUIES, March 2000 - Page 11 for the SWEATY NIPPLES REUNION @ the Roseland Theater. Mobius is still looking for replacement vocalist. Current vocalist Rob Fagliano is re- maining with the band until they can find a suitable replacement. If you’re interested, please contact Mike Krum at: [email protected]. Monkey Fur has recently resurfaced with a new drummer by the name of Joe Chiusano (Fernando/Young Eduardians). Petal has also reformed with two new members. Katie McNealy will be replacing Jes- sica Spiegel on vocals, and Dave Johnson I’m baack! Did ya miss me? I missed you…oh all right, enough of the mushy “While Here Comes Everybody is on hiatus, stuff…let’s get straight to business…I think two months is a long enough time to wait, so Rene and Michael Jarmer are both involved in we’ll just cut to the chase! side projects. Michael is currently hittin’ the In line up news, this city has had its hands full. After recently signing with Epic Records skins for Portland’s own, Ida’s Heavy Truckstop, and releasing their latest CD, “Volume”, Slowrush has said farewell to two of its origi- while Rene has returned to the drums herself in nal members. Blake Sakamoto (keys) and Dan a new band called Sophia Starlight .” Pred have departed from the band to pursue other interests. Their last show with the band Threscher is currently on hiatus as well. (Nurse Diesel) is filling the shoes of long time was their CD release party at the Ohm on Feb- Some members have started a side project with drummer, Rob Griner. The band has headed ruary 22nd. The band is gearing up for a tour Brian Lehfeldt (Sweaty Nipples/Everclear) into the studio to record their sophomore ef- to support their new effort, so keep your eyes called TV:616. You can catch TV:616 at their fort, tentatively titled “Kitschy Coup.” Suplex peeled for dates (www.slowrush.com). first show on March added James Partch to their roster as their new Drummer/Co-Founder, Kenn Gibney 26th @ The bassist. has left Logos Eye to pursue his Ohm and or Sweet Juice retained (Miss Red place as drummer for on April 21st Flowers) to their line up. Wes Baldwin (Area Dead Red Head & his when they 51) has recently joined the ranks of Tripleswift side project, Hun- open up as a second guitarist . Jesus Presley has had a dred Dollar Biscuit. couple of line up changes as well. SP Clarke No word as to what the and Bret Malmquist are no longer with the future holds for Logos band. Meanwhile, Pete Helsan (New York) Eye, but check back has recently stepped up to fill the position here for the latest of bassist for the band. Look for all information. these bands in your local listings While Here to get a listen to the changes that Comes Everybody are taking place. get out there is on hiatus, Rene and show all these hard and Michael Jarmer workin’ musicians that the are both involved in side fans really do care. projects. Michael is cur- Man, this mushy stuff rently hittin’ the skins for is really startin’ to get in the Portlands own, Ida’s Heavy way, isn’t it? Well, one band you Truckstop, while Rene has re- won’t be able to see for turned to the drums herself in very much longer is lo- a new band called Sophia Star- cal heroes, Village light with Maria Callahan Idiot. The band will (Doris Daze/King Judy). be performing their Both Rene and Michael re- last show on March 10th cently played with their re- @ the Satyricon with Witch spective projects at the Ethos Inc. Mountain. One act you will be Benefit on February 25th @ PSU. Along with seeing a lot more of is a new them, bands like Mel, Mobius, they performed photo Buko project headed up by Grindstone to help raise money for Ethos, Inc. frontman, Lamar Stilwell called, Joe Pyeweed. (www.ethos-inc.com), Portland’s nonprofit Chris Merrow of Village Idiot. multicultural music center. Continued on page 29

Page 12 - TWO LOUIES, March 2000 All Service Musical Electronics Repair bands for the Mill Camp and Swing- (Formerly KMA Electronics) ers Night Club. 617 S.E. Morrison Portland, OR 97214 I.H.S. Production Phone/Fax: (503) 231-6552 Gary Miles Toll Free: 1-888-231-6552 (503) 731-0383 Contact: Randy Morgan 8063 SE 17th Avenue Email: http://www.teleport.com/~fixitman Portland, OR 97202 PRODUCTION Services: Quality electronic service for mu- Service: Promotion, Sound Re- sicians, studios and music dealers. Factory cording, Video post work. authorized for most major brands. Years Experience: 12 years. Hours: 9-6 Monday through Friday, Satur- Speciality: Servicing the Chris- day 10-5 tian community. Years Experience: 27+, over 20,000 repairs Availability: Anytime. Specialties: electronic musical equipment from vintage to state of the art. If you can Letcher, Sean plug it in and make music with it, we prob- (503) 771-7488; (503) 938-9626 ably repair it. pager Clients: We have performed repairs for al- Services: Sound most every music store in Portland and Years Experience: 14+ Availability: Any hours. Ripplinger, Vancouver. We have done work for acts such Music Specialties: Anything but Country Specialties: Sound mixing, front of house Joseph as , The Cars, The Moody Blues, Availability: Call for Schedule monitors, production services. (503) 655-3869 98 Degrees, Monica, Everclear and many lo- Specialties: Experienced at all levels of Services: Sound & lighting engineer, small cal artists. record/music industry. Tech any and all in- Pro Sound and Video PA and Light rental, Psychedelic Liquid Light struments, good stage management skills, Steve Hills Show Brown, Ray total of 15 years experience in Portland mu- 1020 Greenacres Road Years Experience: Pro since ‘81 (503) 286-4687 Msg. (503) 285-2473 sic scene. House Engineer @ Moosehead Eugene, OR Music Specialties: Blues, rock, jazz, classical, Services: Sound Café. (541)4844-4252 Electric/Acoustic Years Experience: 20 Clients: Maiden Mine, Nurse Diesel, Years Experience: 7 years Availability: Yes! Music Specialties: Rock, Blues, Country, All Norman Sylvester, Hudson Rocket Band. Specialties: live sound recordings, do-it- Specialties: Excellent live mix, stage man- Availability: Any Hours. yourself demo tapes. agement and light direction. Production Specialties: Excellent live mix, monitors, full Logic General, Inc. Clients: Love, Death & Agriculture, Don efficiency. production. 6713 SW Bonita Rd #210 Latarski, Eisneblaak. Clients: Candelight Room, Cascade Tavern, Clients: 7 1/2 years national tours w/ Rufus, Tigard, OR 97224 Terry Robb, Sundown Sound, Spectrum Dr. Hook, Grateful Dead, Blue Oyster Cult. Phone: 503-598-7747 Pellegrin, Terry Sound, Razorbacks, Terraplanes, Duffy Fax: 503-603-0141 (503) 645-5422, (503) 330-3840 Bishop, Lily Wilde, Paul De Lay, Soul Vacci- Duke Sound and Light Productions Contacts: Web Address: www.alohasound.com nation, Gemini Pub & Trails End Tavern. Duke Pippitt Tom Dickey 503-598-7747 x301 Email: [email protected] 541-747-5660 email: [email protected] Services: Sound & Lighting Thomas, Dwayne 525 Main Street Paul Gusman 503-598-7747 x303 Years Experience: 13 (503) 281-0203, Msg.: (503) 784-0361 Springfield, Oregon 97477 email: [email protected] Music Specialties: Blues, jazz, bluegrass, Fax: (503) 231-9679 Years Experience: 15 Services: CD Duplication Services, Includ- country. Services: Lighting Services: Concert production, sound rein- ing on-site CD manufacturing; CDR disk Availability: Always. Years Experience: 14 forcement, stage roofs, small P.A. and instru- and tape duplication; graphic design, retail Specialties: Live demos on location, festivals, Music Specialties: Rock, all others also. ment rental. ready packaging services, warehousing & fairs, conventions. Specialties: Full-time professional lighting Equipment: 32 input house console, 24 x 8 distribution services. Equipment: JBL & Crown design—concerts, clubs, special events, tour- monitor, 30 x 40 canvas stage roof (por- Clients: Curtis Salgado, Linda Hornbuckle, ing, Intellibeam trained, substance free. table). Mincks, Dennis Paul De Lay, Soul Vaccination Clients: , Nu Shooz, Jon Music Specialties: Original, alternative, (206) 576-9007 Koonce, Dub Squad, Tales Untold, Blubinos, cover rock, but also blues and country. Services: Sound. Prescription Electronics The Killing Field, Cool’r, Cal Scott, Caryl Clients: Love Load, Edgar Winter Group, Years Experience: 15. P.O. Box 42233 Mack, Roseland Theatre, John Bunzow & Norton Buffalo, Steve Morse as well as books Music Specialties: All. Portland, OR 97242 Cowboy Angels. Continued on page 14

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Page 14 - TWO LOUIES, March 2000 Hornbuckle, Jay “Bird” Koder 503-224-6631 (fax) Format: Jazz The Country Inn Booking: Haley 52nd AVENUE 18786 S.W. Boones Ferry Road Capacity: 50 Tualatin, OR 97062 Equipment: Piano & speakers 503-692-2765 Headliners: Mel Brown, Thara 503-691-2675 (fax) Memory, Kelly Broadway. Sports•Bar Format: Blues 5201 NORTHEAST SANDY BLVD. Booking: Sunny Jimmy Mak’s Capacity: 150 300 N.W. 10th 503/288-0313 Equipment: none Portland, OR 97209 Headliners: Paulette & Power, Cow- 503-295-6542 boy Angels, Steve Brodie 503-279-4640 LIVE MUSIC WEEKENDS Format: Jazz, Blues EJ’s Booking: Jimmy 2140 N.E. Sandy Blvd. Capacity: 95-165 Portland, OR 97213 Equipment: none 503-234-3535 Headliners: Tony Starlight, Pepe & 503-232-7719 (fax) Bottle Blondes, Ben Fowler, Art Davis See 28if Format: punk/ Quartet, Thara Memory featuring Jeff Labansky Booking: Joel (503) 817-2060 live at the Roseland Grill Capacity: 307 Laurelthirst Friday March 17th Equipment: PA, lights, sound engi- 2958 N.E. Glisan Street + Jeremy Wilson acoustic neer Portland, OR 97232 Buy the new CD now Headliners: National, Regional and 503-232- 1504 at these fine stores: Local acts Format: Blues, Folk, Acoustic Rock •Groovacious Platters• Booking: Bill Leeds: 236-2455 Gemini Pub Capacity: 100 4190 River Rd N Keizer 456 N. 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Hawthorne Blvd. Reggae, World Music Portland, OR 97215 Booking: Susan 503-238-1646 Capacity: 180 Format: all styles Equipment: none Booking: Peggy 503-232-8813 Headliners: Capacity: Main Room 339 Acoustic Room 72 Green Room Equipment: PA, Lights 2280 N.W. Thurman Street Headliners: Buds of May, Omar Portland, OR 97210 Torrez, Fernando, Ezra Holbrook, 503-228-6178 Steve Smith 503-228-5068 (fax) Format: Acoustic Folk, Rock, Blue- The New Paris Theatre grass SW 3rd & Burnside Booking: Declan Portland, Oregon 97204 Capacity: 100 503-224-8313 Equipment: PA, board, monitors, 1 Booking: Senor Frogg (503) 236-7745 mic Format: Punk/Gothic/Industrial/Af- Headliners: Buds of May, Sweet Juice, ter Hours Dance Little Sue, Jim Boyer, Billy Kennedy Headliners: Written in Ashes, Grind- stone, Mobius, Monkey Fur, Soy Jazz de Opus Futura, Sumerland, Good For Noth- 33 N.W. 2nd Avenue ing, Honey Rider, Mortal Clay, Faith Portland, OR 97205 & Disease, Fuckpriest Fantastic 503-222-6077 Continued on page 18 TWO LOUIES, March 2000 - Page 15 THE GRAND OL' SOAP OPRY The major label deal, in the year 2000. negotiations and asked for nothing.” another crew person, so we may get the total up to Get in the van and go. Erickson sells time for a radio station in Se- eight people.” attle and Walker is in regional promotion for Vir- Somewhere in the band’s hectic schedule Or stay home, quit the band, pass on the pay- gin Records. Daiker has to find two days to shoot a off and waste all the time and effort you put in to Blake and Dan have already experienced the for the first single “Junkie”. building the act and recording an album. never ending van tour in the 80’s with the Dan Reed Network when they toured in support of al- Blake Sakamoto and Dan Pred did just that. bums for Polygram. In those days DRN was managed by San Francisco legend Bill Slowrush will be heading out without Blake Graham and several times Graham sur- and Dan, March 10th in a 14 passenger Econoline prised the guys by flying out and hitching van with trailer, heading for the Green Room in a cross-country ride with the band. Look- Tempe, Arizona and at least a month’s worth of ing out the windshield to see America unfold- touring in support of the new Epic release “Vol- ing while you listen to a pioneer of rock-n-roll ume”. share his insights. Epic has the band scheduled for shows at the It’s tough to top that experience. Brick By Brick in San Diego March 12th, The Trou- badour in West Hollywood March 13th and Slim’s Slowrush recorded “Volume” at in San Francisco March 14th. They’re booked in Falcon studios with engineer Sean Sacramento, Colorado Springs, and Denver end- Norton. Rob Daiker produced. Norton ing in Minneapolis, Minnesota on March 21st. and Daiker mixed the record and Doug “We’re adding dates every day.” says frontman Rowell did the digital editing. Rob Daiker. “The label is booking us in markets “Volume” was mastered in Holly- where the record is taking off and we’re already on wood at Bernie Grundman Mastering. over 70 stations across the country.” If there’s any doubt that “Volume” is in some small way a tribute to the Dan Reed Dan Pred wishes Rob and the new drummer Network, Dan Reed co-produced the four the best. “I have no hard feelings whatsoever. The songs in the middle of the album and co-wrote timing is just not right for me. When I looked at three of the tunes. the budget and saw that no tour support or side- Slowrush; the never ending van tour. man salary was involved, I chose to The Epic photo Buko step away.” CD “I have two package ••• little girls and a is packed Brian Lehfeldt is busy too… growing business.” with cred- Brian is organizing the Sweaty Nipples Re- its and de- union at the Roseland Theater April 21st. “It was Former tails, and if great.” laughs Brian “The first day we got together keyboardist Blake every person to talk about it we got into a big argument, just like Sakamoto thinks mentioned in the Spe- the old days.” the Epic tour cial Thanks listing Sweaty Nipples took Portland by storm a de- support budget went out and bought cade ago. In 1991 they became the first main stage could’ve been a lot “Volume” today it would Mayor’s Ball act to actually have the plug pulled. more supportive go Gold before St. Paddy’s “They not only pulled the plug on us, they arrested but managers Rob Day. our lead singer for inciting a riot and towed our Erickson and Rob Daiker is pumped van.” says Brian. Steve Walker to play. “Looking back on it, we were really brats.” being rookies, Slowrush will pack “It was our last song and when they killed the had no idea how the 4 band members, gui- power we kept playing our acoustic instruments to work the label. tarist Garth Parker, bassist and the crowd kept singing the words. It was awe- “I have contacts Caleb Spiegel, drummer some. It just went on and on. The Dharma Bums inside at Epic, who tell me Dave Merrick of Sweaty Nipples; Adrian Ost , Daiker and two on the other stage had power and were told to go the label thinks Rob and Steve banned from the Ball. crew personnel in the but wouldn’t start until our crowd stopped sing- are weenies.” Econoline for the maiden tour. ing.” “They acted like a couple of scared kids in the “I’m still looking for another keyboard player and “Security came to the front of the stage and

Page 16 - TWO LOUIES, March 2000 BY BUCK MUNGER arrested our lead singer, while I jumped off the back “I had a record deal before I got out of high Mentoring Program). and hid under the stage.” school.” says Brian. Rumors of a Meredith Brooks model Tele- “After it was over we got a letter from the Port- caster persist. ••• The Spring Frontline also devotes a few pages Memo from the trenches… to the re-introduction of the Sunn amplifier line, TL correspondent Bart Day covered the 42nd positioned in the Fender product lineup as the ul- Annual Grammy Awards, February 23rd in Los tra pro amplification gear. Sunn was founded by Angeles. ’s bassist Norm Sundholm and manu- After the Grammy taping at the Staple Cen- factured here. Fender acquired the company in the ter from 5 till 8PM, for live showing on the east 1980s and built all Fender amps here till Septem- coast, the assembled glitteratti moved to The ber of 1996. New Sunn units were introduced by Biltmore Hotel for the official NARAS After Fender in January of 1999. Grammy Party. Kenny Olson of Kid Rock is one of the first The Biltmore presented eight artists to endorse the new Sunn equipment. areas of music, each laden with free food donated by “celebrity ••• restaurants”. Burnside Records, a decade later… Entertainment featured Ten years ago Music Millennium owners Terry big name talent including Currier and Don MacLeod realized there was a Dwight Yoakam, Asleep At large demand for Johnny & The Distractions prod- The Wheel, Manhattan Transfer, uct in the CD format and none available. They sent The Barkays, and Tito Jon Koonce in to the studio where he recorded Puente. Johnny & The Distractions “The Best Songs & Bart’s personal musical highlight of the More”, Burnside Records’ first release. After Grammy Party was the set by Eric Burdon That was 36 albums ago… st photo Buko & The New Animals in the Crystal Ballroom. Spen- March 31 at the Roseland Theater the public cer Davis and John Mayall sat in with Burdon. is invited to “The Burnside Records 10th Anniver- land “Eric Burdon was great. He gave a very fresh sary Party”. Music Association saying we were and inspired performance and the backup band was Current and former employees and artists of banned from the Mayor’s Ball for life.” awesome.” Portland’s largest indie label will be mingling with April 21st , we’ll see if the lads have mellowed. the record buying public and industry well wish- ••• ers. ••• Robert Cray won a Grammy for Best Contem- Burnside artists performing will include Duffy When you play with Everclear, you get popu- porary Blues Album for “Take Your Shoes Off” on Bishop, Paul Brasch, Henry Cooper, Bugs lar. Rykodisc. Henderson, Bill Rhoades & Alan Hagar, Rod Price, ’ Popularity Records is close to Cray’s wife Sue Turner-Cray continues to Terr y Robb, Mason Ruffner and Too Slim & The signing the Los Angeles based act Volcanic and travel with her independent movie, “Through Taildraggers. Brian Lehfeldt is slotted to join the band as the Riley’s Eyes”, based on the life of Portland musi- drummer. cian Richard Burdell. ••• Volcanic would come to Portland to record the “Through Riley’s Eyes” will be shown at the And on the tube… Popularity album. Alexakis has a state of the art Palm Beach Film Festival in March. Carrie Brownstein of Sleater-Kinney is seen recording studio in his home and has recorded the playing guitar backing up William Shatner in his Everclear Capitol projects there. Muddy Waters is on the cover of the 10th An- warped musical monologue commercials for “I can’t talk about it quite yet.” says Brian about niversary issue of Fender Frontline magazine, out Priceline.com. the Volcanic deal. with stories of famous Fender players and a com- Entertainment Week says Carrie and Mary Lehfeldt will appear March 26th at the Ohm plete line up of Fender products, including the Timony of Helium were cast for their “street-cred”. with TV:616, which includes the bassist from Custom Artist series Robert Cray Stratocaster, EW interviewed Carrie for a piece on Shatner en- and two members of Thresher on hiatus. available in 3 color sunburst, Inca silver or Violet. titled Dozed and Confused. (2/18/’00). Brian says he and TV:616 are shopping a 4 song Robert is pictured with his Inca Silver Strat. “Brownstein says working with Shatner was a demo of the act. Meredith Brooks is a favorite of the Fender challenge, especially when the former Star Trek cap- Lehfeldt’s early works are also starting to re- company and gets a nice four color shot on page 20 tain fell asleep on the set and nothing could wake surface. “Shark Attack” recorded and released in cuddling with her Telecaster, along with a pitch for him-not even screechy guitar feedback. Adds the 1985 by Brian’s band Wehrmacht is being re-re- her Capitol album “Deconstruction” and a plug for guitarist, ‘I guess he’s used to tuning out anything leased by New Renaissance Records. her teenage mentoring program AMP. (Anybody’s that doesn’t directly involve him.’” LL TWO LOUIES, March 2000 - Page 17 Portland, OR 97209 Equipment: PA, lights 503-243-2380 Trails End Saloon Headliners: Linda Hornbuckle, Rub- OREGON VENUE 503-243-2844 (fax) 1320 Main Street berneck Format: Alternative Rock/Punk/Vari- Oregon City, OR 97045 ous 503-656-3031 Albany Booking: Ingrid 503-656-7872 (fax) Capacity: 250 Format: Blues Tuesday-Saturday The Venetian Theater Continued from page 15 Equipment: PA, lights Booking: Randy Lilya (503) 556-0405 241 W. 1st Avenue Headliners: Dead Moon, Poison Idea, Capacity: 150 Albany, OR 97321 Ohm Everclear, Fernando, Flapjacks Equipment: P.A., lighting 541-928-6733 31 N.W. 1st Avenue Headliners: Little Charley, Paul Format: all musical styles Portland, OR 97205 St. Johnıs Pub DeLay, Duffy Bishop Booking: Robert Connell 503-223-9919 8203 North Ivanhoe Capacity: 685 Format: Blues, Jazz, Acoustic, Pop, Al- Portland, OR 97203 Vicıs Tavern Equipment: PA, lights, soundtech, ternative. 503-493-4311 10901 S.E. McLoughlin Headliners: Calobo, Floater, The Booking: Dan Reed Format: Blue Grass, Soft Rock Milwaukie, OR Daddies Capacity: 250 Booking: John Malloy 289-7798 503-653-9156 Equipment: SA PA system, lights, Capacity: 300 Booking: Lynn Eugene soundman Equipment: PA, lights, two stages Format: Original music-Rock Headliners: Slowrush, Imogene, The Headliners: Regional, National, Local Capacity: 100 Good Times Sensualists Bluegrass & Americana 375 East 7th White Eagle Eugene, OR 97405 The Rabbit Hole & Mad Hatter Tonic Lounge 836 N. Russell 541-484-7181 Lounge 3100 NE Sandy Blvd. Portland, OR 97227 Format: all musical styles 203 S.E. Grand Avenue Portland, Oregon 97232 503-282-6810 Booking: Dog House Entertainment, Portland, OR 503-239-5154 503-282-0842 (fax) Brendon Relaford: 541-342-7743 503-231-2925 Format: Rock, Alternative, Goth Format: Various (no punk/techno) Capacity: 250 Booking: Bill Leeds (503) 236-2455 Booking: Devon Booking: McMenamins/Jan 503-249- Equipment: PA, lights, sound tech Format: original acoustic Equipment: 3983 x 497 Headliners: Body & Soul, The Dad- Equipment: PA Headliners: American Girls, Asthma Capacity: 110 dies, Headliners: Fernando, Luther Russell, Hounds, Feller, Mel Equipment: P.A., mics, Lighting, Some 44 Long, Kaitlyn ni in-house sound assistance John Henry’s The Jazz Bar at Sweetbrier Inn Headliners: Buds of May, Steve Brad- 136 East 11th The Red Sea 7125 SW Nyberg Rd. ley, Jerry Joseph & Jackmormons, Eugene, OR 97401 318 S.W. 3rd Avenue Tualatin, OR 97206 Jeff Trott, John Bunzow 541-342-3358 Portland, OR 97205 503-692-5800 Format: alternative, hip-hop, funk, etc. 503-241-5450 503-691-2894 (fax) Salem Booking: Bruce 541-343-2528 503-224-6570 Format: Jazz Capacity: 300 Format: Reggae, World Beat Booking: Denny 425-454-4817 Tommy John’s Equipment: PA, lights Equipment: PA Capacity: 50 248 Liberty Street Headliners: The Daddies, Floater Equipment: Piano, PA Salem, OR 97301 Roseland Headliners: Mary Kadderly, Dana 503-540-4069 Wild Duck Music Hall 8 N.W. 6th Avenue Lutz, Jean-Pier Gareau, Format: Rock, Alternative, Funk 169 W. 6th Portland, OR 97209 Marilyn Keller, Johnny Martin Booking: Dennis Ayres Eugene, OR 97405 Website: www.doubletee.com Capacity: 150 541-485-3825 Format: all musical styles Tillicum Equipment: 6 channel PA, no mics, Format: all musical styles Booking: Double Tee/Adam Zacks 8585 S.W. Beaverton Hillsdale Hwy. lighting Booking: Dog House Entertainment, 503-221-0288 Portland, OR 97225 Headliners: Xing, Jesus Presley, Brendon Relaford: 541-342-7743 503-227-4418 (fax) 503-292-1835 American Girls Capacity: 500 Capacity: 1350 Format: Blues, Jazz, Rock nı Roll Equipment: PA, lights Equipment: PA, lights Booking: Cindy Westside Station Headliners: Charlie Musselwhite, Headliners: Local, Regional and Na- Capacity: 200 610 Edgewater N.W. Calobo, John Hammond tional acts Equipment: none Salem, Or 97304 Headliners: Lloyd Jones, Norman 503-363-8012 The WOW Hall Roseland Grill Sylvester, Jim Mesi Band, Midnight Format: Classic Rock 291 W. 8th Avenue 8 N.W. 6th Avenue Blue Booking: Donny Eugene, OR 97405 Portland, OR 97209 Capacity: 100 541-687-2747 Format: all musical styles Tug Boat Brewery Equipment: PA, lights 541-687-2746 (fax) Booking: Double Tee/Adam Zacks 711 S.W. Ankeny Street Format: all styles: music, dance, the- 503-221-0288 Portland, OR 97205 Corvallis ater 503-227-4418 (fax) 503-226-2508 Booking: Allison Carter Capacity: 400 Format: acoustic rock, jazz The Peacock Tavern Capacity: 400 Equipment: PA, lights Booking: Megan 125 S.W. 2nd Avenue Equipment: PA, lights, soudtech, Headliners: Local, Regional and Na- Capacity: 50 Corvallis, Or stage manager tional acts Equipment: mixer, speakers and mic. 541-754-8522 Headliners: Greg Brown, Vassar Headliners: Creative Music Guild, Format: R & B, Alternative, Acoustic Clements, NoMeansNo Satyricon Rob Blakely Booking: Randy: 503-556-0405 LL 125 N.W. 6th Avenue Capacity: 350, 275

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TWO LOUIES, March 2000 - Page 19 FURTHER STEPS TO PROTECT THE NAME Whenever you use your band’s name — for ex- ample, on posters and record packaging — you should give notice of your trademark rights. If you have ob- Continued from page 9 tained a federal trademark registration, there should ten agreement among the band members regarding be the symbol ® (an encircled R) next to the band’s who can use the name if the band breaks up, or if name in a conspicuous place somewhere on the pack- some of the members leave the band. Experienced aging and in print ads. If, on the other hand, a federal entertainment attorneys routinely include such pro- registration has not been obtained, you cannot legally visions whenever a written partnership agreement or use the symbol ®, but you can use the symbol ™. For incorporation papers are drawn up for a band. It is example, “” ® or “The Jones.”™ extremely important, however, that such a provision It will also be necessary to renew your trademark be drafted very carefully, because a poorly drafted pro- registrations after a certain period of time — for ex- vision usually creates many more problems than it ample, after ten years in connection with federal trade- “it is critical to have a written agreement among the band members regarding who can use the name if the band breaks up, or if some of the members leave the band.”

solves. mark registrations, and after five years for trademark TRADEMARK REGISTRATION registrations with the State of Oregon. In regards to A trademark application can be filed with the federal trademark registrations, there are also some federal government if the name is being used in inter- other documents which must be filed from time to state or foreign commerce. In certain circumstances, time, in order to keep the federal trademark registra- a trademark application can be filed even before the tion in effect. name is used, due to major changes in the federal Finally, you should take immediate legal action trademark statute in 1989. if another group starts using your band’s name. Oth- In addition, trademark applications can be filed erwise, you run the risk of losing all legal rights to the in any state where the band’s name is being used — name. Names like “aspirin” and “thermos” were once for example, wherever the band’ s records are being legally protected trademarks, but were later lost be- sold. If a federal registration has already been obtained, cause the trademark owners of those names failed to it is generally not necessary to also obtain state regis- stop other companies from using those same names. trations, though it is sometimes a good idea to do so. In short, the following steps should be consid- As I mentioned above, it is not absolutely neces- ered whenever a band is trying to protect its band sary that a trademark application be filed in order to name as much as possible: (1) First, try to be sure no have legal rights to a name. Nonetheless, there are one else is using the desired name: (2) Have a written many substantial legal advantages in having a trade- agreement among the band members as to the mem- 4811 SE Hawthorne 238-1646 mark registered, particularly if it is a federal registra- bers’ rights to future use of the name; (3) Obtain fed- March 2000 tion. As a general rule, any band desiring to protect eral and state trademark registrations, if possible; (4) Acoustic Room its name on a national (or even regional) level should Be sure that your trademark registrations are renewed Friday 3rd file a federal trademark application as soon as it is fi- when necessary, and that other necessary documents Blyss/Mel/Local 808 March 2000 nancially feasible to do so. This is because the federal are filed in a timely manner, and take immediate legal th Saturday 4 Friday 3rd trademark statute says that your filing of a federal action if someone else starts using your band’s name Jesus Presley/Ohm Eric “E” Schweiderman trademark application is legally considered to give as their own. (from Ashbury Park) Friday 10th national public notice of your use of the name to any- Editor’s Note: Bart Day is a Portland-based en- John Brown’s Body Saturday 11th one not yet using the name. (This is referred to as the tertainment attorney in private practice. He is also a th Lew Jones/Mel Kubick/ “constructive notice” provision of the federal trade- partner in ALLMEDIA, Ltd., a company with offices in Saturday 11 Margaret Slovac Roger Klein & The Peacemakers/ mark statute.) Portland and Los Angeles. ALLMEDIA specializes in Mobius CD release Friday 17th As a result, the filing of the federal registration administering the licensing of music for film, television, th Melomane (Fiddlin’ Dave’s at the earliest possible time can give you trademark commercials, and computer games, and represents vari- Friday 17 Cajun Band) Off The Rail/Jackstraw rights which you would not have had otherwise (as- ous record labels and independent music publishers. Hairbrained suming, of course, that you are issued a federal trade- Bart is also the co-author of a chapter in the new th Saturday 18 Saturday 18th mark registration based on your application.) In a edition of The Musician’s Business and Legal Guide, a TBA The Whole Bolivian Army number of instances, in which a band has filed a fed- book compiled by the Beverly Hills Bar Association and th Friday 24 Friday 24th eral trademark application early in its career and then published internationally by Prentice-Hall Publishing Tom Anderson Presents PDX New Music Showcase later confronted a trademark dispute over the name, (New York). th the early filing of a federal trademark application al- The reader is cautioned to seek the advice of the Saturday 25 Saturday 25th McTarnahan’s Presents: McTarnahan’s Presents lowed the band to keep the name which it otherwise reader’s own attorney concerning the applicability of the Big Time Rosie/44 Long/ (TBA) would have lost. general principles discussed in this column to the reader’s Brian Berg Incidentally, a more detailed discussion of st own activities. st Friday 31 Friday 31 Michael Berly the advantages of early trademark filing can be found Runaway Truck Ramp/ in the December, 1998 issue of Musician magazine, Ashleigh Flynn & Honda 70/ Turning Eleven which (if you can’t find it elsewhere) can be found in the magazine section of the downtown Portland pub- lic library. LL

Page 20 - TWO LOUIES, March 2000 personal favorite “Hey Denny! If you don’t turn down I’m going to ram that handmade piece of crap in one ear, and pull it out the other”. It’s one thing to make a few short tempered mis- takes when you’re an amateur musician because of our intense focus on what our idea of how the performance is supposed to go, but It’s a real turn off when somebody you respect is rude in public. I’ve been lucky enough to meet a few great and suc- cessful entertainers, politicians and musicians in the past few years. I’ve only been cussed out by a fat English has been rocker, and as is my policy, I won’t give him any free press as a result of his behavior. Ha! Ha! Generally it has been my experience that most rude Greetings music makers, harmony. A smart band may be ahead of the game a little behavior comes from frustrated local talent who feel they I just finished watching the Beach Boys special and if they try to bust this trend. deserve the fame but they don’t want to work hard to actually, I rather liked it. Anytime there is a show that Don’t forget that a trio isn’t just three instruments, earn it. I’ve probably been guilty of that myself at times. deals with band relations or chemistry, we should con- it’s six if you include all three voices. Do Ra Me Fa So La I hear Billy Kennedy has a cool band called “Billy sider it a potentially helpful resource to tap into as we Te Doe$ K’s sussed for success”. The group features some covers plow our way through the personality mucky-muck that I’d like to thank the kats at Showcase Music for along with a few killer originals and from what I hear almost always goes along with the hint of success in the entertainment industry. In the late 80’s I was working a gig in sunny (110 “I hear Billy Kennedy has a cool band called “Billy K’s sussed for success”. degrees every day) Yakima Washington when someone The group features some covers along with a few killer originals and in the audience requested a Beach Boys song. Our re- sponse was that we didn’t know any, but if they stayed from what I hear they’re “kickin’ butt” at the Laurelthirst.” until the next set we probably could pull something off. Well because of the stage lighting and room ambience putting up with the Portland music scene for all these they’re “kickin’ butt” at the Laurelthirst. Along with Billy we couldn’t see that it was in fact several of the Beach years, they’ve been really cool about my recent search for K the band features Jim Boyer from Freak Mt. Ranch on Boys heckling us. After hearing our promise to work up that “perfect” recording mike. I must have been in their guitar, Ken Woodside on drums, mysterious David on a tune on the break, their response was “please don’t we store about fifty times probably asking the same stupid congas, and the incredible Bobby Waddle (pronounced are the Beach Boys” and believe me that’s the last thing questions and so far I haven’t been thrown out. Wad-lee) on bass. Their next gig at the Laurelthirst is on we wanted to hear! Hawthorne Blvd. is a great music store location for us March 25th. Check em out! I’ll be there, come on down, After messing with our heads a little more, they de- East Side bums and I’m sure it has not been easy dealing a good time guaranteed for all! cided to come to the stage and with all of the economic I need to correct a miss spelled name in last month’s introduce themselves with a development and chaos column. The keyboard player that worked in the Swells smile, just to be cool. that goes along with an was Michael McLean not Michael McDonald. I try to see And, after further ever-changing inner that I don’t make that type of screw up and I feel espe- thought, they realized that be- city business district. It cially bad because Michael passed away several years ago. cause we had a steel drum in the amazes me that they I’m trying to encourage some band interaction with band, we might be of use in the can cram so much groups from the Puget Sound area and this months hot next days sold out concert on a quality gear into that picks according to legendary sound engineer Walter new song they just recorded call corner building at 34th Watson, are from the Tacoma area. Glamitron, which “Kokomo”. So they asked me if I and S.E Hawthorne. obviously flaunts a resurgence of 80’s Glam rock and a would like to play with the Beach Also Showcase group that consists of some of my old friends from Boys on that tune. My response also has a well re- Strypes who were very hot in the Portland music scene was something like... uh? What?... spected rental depart- during the 80’s called Groovy Times In Babylon. Lets uh! yeah!..yeah..yeah!! The show ment which can be a bring them to town and check out their stuff! was a blast, the band was very nice great solution to your I’m lucky enough to live in a very musical neigh- to us, and the whole thing was a temporary equip- borhood and as of late I’ve been hearing some great new great experience. ment needs. So go in material coming from two doors down the street. Word One thing I was reminded of there andhelp sup- is Rozz has put together enough material for a follow up during their mini series was how Dennyonstagewiththe port your local mu- CD to Lover Legend Liar so why don’t one of you indie sic store! I think labels I keep reading about think about snatching up one well they used their biggest asset, BeachBoys. their vocal harmonies. Most of will photoKarlWilson you’ll find that it of the most gifted kats Portland has ever known before find that singers with similar speak- will pay off in the he gets mad at me again. Music is a great healer! ing characteristics can achieve great long run. I’m waiting for Barb Kitchel of the Pan Gypsies to harmony with little effort if given a good arrangement Kudo’s to Carlos! get back from Trinidad where she attended the Baccha- or song. In the case of the Beach Boys this is doubly true Congratulations to Santana for his slam-dunk at nal steel drum festival. Barb is one of Portland’s more because most of them were related, and from the same the Grammies, but that pales in comparison to his mas- underrated musicians basically because she does not self city. Another great example, of course, would be Beatles. sive change of attitude. In one interview he openly ex- promote but believe me this lady has got some serious The Liverpool accent is very distinct and colorful, and plained, that with encouragement from his wife, he de- chops. If you get a chance to see and hear Portland’s only one of the reasons they sang so well together. cided to attend anger management classes mainly because resident steel band do it. They’ll blow you away. The same thing is true for any part of the country of, lets say, his declining “people skills abilities”. Due to Well thanks for listening. Remember! The best lis- or even the world for that matter. It seems to me that the the understandable stresses that naturally occur in the teners make the best musicians! trend in over the past few years has been to entertainment industry, any of us are subject to an occa- Me gotta go now, focus more on the instruments and lyrics than on vocal sional release of such phrases as “go *@#! yourself or my Denny LL

TWO LOUIES, March 2000 - Page 21 from the Ramen compilation, “Great Big Nothing,” blind alleys and cul-de-sacs, usually arriving at no benefits from roiling organ passages and occasional discernible destination. This is a pity, because it violin interjections, as Tsefalas swings into a Pennish would seem that he has the vocals tools to do much vocal mode. more, if he had something of some importance to More subdued, I’ll Miss You” plays Chris’ sing about. Continued from page 10 simple, acoustic guitar against Stricker’s standup- Also, it is highly advised that any writer like bass over bongos— to great effect; as Chris use the adjectives “great” and “big” in succession whispers a bittersweet declaration. A similar sim- only once in their careers. Tsefalas best used his al- ano fills decorate the mournful choruses. A sweet plicity inhabits “Something Wonderful.” Here, a lotment with “Great Big Nothing.” Further usage and tender song. the mournful wail of overdriven electric guitar in subsequent songs connotes a serious dereliction Certainly Dizzyfish will not appeal to every- washes under Tsefalas’ vocals, as tension slowly of duty to one’s craft; settling for what is conve- one. Nothing does. But for music lovers who pre- builds and releases in subtle rhythmic variations. nient rather than what is appropriate. fer scrupulously artful bands with something to say “Heart” returns to a more uptempo mood, though With another album, Rain, in its final and the musical means to express their clever ideas, it is hard to grasp, exactly, what the song is about, stages of production, we shall soon find out how then the new band Dizzyfish has a great deal to of- on a lyrical level. Niven progress and mature. Surely there is much fer you. Bongos and a low, D-tuned acoustic gui- to recommend in this debut effort. Still, there is the Niven- Niven tar tinct “Caesar,” another brooding number, hope that the band will find something concrete Self-Produced wherein Chris appears to be pitching battle with and invigorating about which to construct their We caught our first glimpse of Niven last No- some non-specific adversary. “The Party,” rumbles efforts. vember with the song, “Great Big Nothing,” which in on galloping toms and a chunky electric guitar Ever Clearly— Love Nancy Sugar they contributed to the Ramen Holiday sampler chord progression and describes in sketchy detail Rock Kitten Records distributed at last Fall’s North By Northwest con- some affair where Chris feels he “can’t say too much” Carlos Santana’s stunning run through ference by the duplicators Northwestern Inc. As was in the presence of some indistinctly menacing guest. this year’s Grammy awards lent credence to one of mentioned in that review, Niven is an all-star band A dark mood surrounds “The End,” al- the most enduring notions in show business: the fronted by Chris Tsefalas, a man who more than though, even after repeated listenings, the precise resiliency of a career. A few small changes in the once has drunk from the corporate pool, only to point of the drama is still unclear. A vague sense of presentation and bam! Hip as ever and riding a wave come away parched— most memorably with Crow ’ song of the same name pervades within of unparalleled success. The idea that someone in the early ‘80s. the musical atmosphere, but otherwise, no particu- could spend years and years toiling away at their Here, accompanied by David Stricker lar sense of emotion or purpose is displayed. The craft; suddenly making a breakthrough in the elev- (former bassist for Billy Rancher and the Unreal final song, “F Street,” is the only one that truly ap- enth hour seems as simplistic as it is far-fetched. Gods), rhythm guitarist Mark Wanaka ( a veteran proaches a Rock stance, echoing the Replacements For we all get stuck in our ruts as the years pass, of Crazy 8s) and several fine drummers ( notably, in tone and tenor. trapped by our preconceptions, shackled by our Carlton Jackson), Tsefalas mines jagged musical ter- rain. A singer/songwriter of the Michael Penn/Chris Whitley/Chris Isaak, Dark-Edged school, whose “Niven is an all-star band fronted by moody melodies and pensive lyrics convey the in- nermost feelings of a haunted psyche, Tsefalas pours Chris Tsefalas, a man who more than his heart out through ten solid pieces of musical once has drunk from the corporate pool, exposition. Lyrically, the songs tend to lack focus, oftentimes seeming merely to fill up syllabic space. only to come away parched— most “Give Them What They Want” could pass for the work of Karl Wallinger in his pre-World memorably with Crow in the early ‘80s. ” Party days with the Water Boys. A mandolin-like acoustic guitar riff is underscored by a moaning, Chris Tsefalas is availed of many musi- limitations. violinesque lead guitar figure, as Tsefalas mutters cal talents, with a fine voice for the type of music But, like Carlos Santana, Love Nancy the lyrics in a haggard rasp. Perhaps veiled refer- he purveys with Niven. However, he fails to draw Sugar’s Gina Noell has managed to turn a stylistic ences to the aforementioned swim with the big fish the listener into his songs on any but the most su- corner— in her case, nearly twenty years after her float around in the lyrics of this song. The track perficial of depths. His lyrics are a series of endless musical journey had begun. She and her producer,

15480-B SE 82nd Drive Clackamas, OR 97015 Joe Casimir Used Guitars & Amps 557-4668 Electronic Repairs & Custom Modifications Fax 557-4670 Factory Authorized Service for all major brands Used Equipment including vintage tube amps. Large Tube Inventory MTS Page 22 - TWO LOUIES, March 2000 husband Michael Cubbon have assembled around Long’s soaring guitar leads and fills, as well as per- more robust in the choruses, a Kate Bushy angelic her by far the most muscular backup band she has fectly placed organ pads add to the energetic pace choir in the bridge and a dramatic guitar interlude ever had. and thick production. swell to another opulent chorus and denouement. Headed by fiery multi-instrumentalist Long’s Larry Fast-like synth arpeggios The quartet of songs concludes with the James Long, whose sinewy guitar filigrees and bur- bubble around his angular guitar interjections on languorously anthemic “Waiting For The Yes“ bling keyboard flourishes weave through every the title track, as Gina launches into a tender and whose lovely chorus seems carved straight from the song, the band creates a Retro, ‘80s sound, akin to tough vocal, wherein she clearly delineates her Blondie songbook. Long outdoes himself with a those purveyed by Blondie or the early Pretenders, world view, with an intimation of Annie Lennox volcanic guitar solo that scatters flaming boulders with elements of the Eurythmics and Missing Per- creeping into her delivery in the chorus. Long again in all directions. Another memorable song. sons thrown in. Contemporary acts such as Aimee , No Doubt and Garbage also lean heavily on the works of those and other ‘80s predecessors, so The maturity in Gina Noell’s songwriting the trend is not without its precedent. The maturity in Gina’s songwriting(co- and singing certainly measures up to the writing with various band members, primarily challenge such a powerful ensemble would Long) and singing certainly measures up to the challenge such a powerful ensemble would present. present. For, without a doubt, this four- For, without a doubt, this four-song EP is the most spectacular work of her career: direct, deep and in- song EP is the most spectacular work of telligent— and of the highest caliber. She is accom- panied by a tight, accomplished band, with chops her career: direct, deep and intelligent. ” aplenty and abundantly savvy stylistic flair. Cubbon’s years as a journeyman producer and en- issues forth with a vibrantly flashy guitar solo in This is great stuff, the culmination of gineer come to fruition here as well, as he forges an the break, after which a nice developmental pas- years of hard work and perseverance on Gina expansive aural environment, careful that Gina’s sage transpires, leading to the final verse and cho- Noell’s part. Her relentlessly steadfast pursuit of an vocals are not lost in the mix. rus. Very nice. artistic vision is rewarded here with songs that lin- The lead track, “Time On My Side,” is a “Fade And Blur” develops a moodier mi- ger in the mind long after the last note has faded, solid illustration of all of the above. Long’s edgy lieu with Long’s strident guitar glinting off a wa- with productions whose thrilling immediacy en- guitar bounces off bassist Dave Schwanke’s rubbery tery wash of synth strings, as Peterson’s wave-like hances only further each number’s individual ap- lines and drummer Andrew Peterson’s punchy beat. cymbals crash against the syncopated rhythm of the peal. The only shortcoming is the brevity of the set. Gina’s layered vocals recall Debbie Harry in her drums and Schwanke’s animated fretwork on bass. Hopefully, there is a lot more where this came from. prime, an ineffable Euro feel pervading her style. Gina enters with a cautious vocal that becomes LL

DRUM SHOP TWO LOUIES, March 2000 - Page 23 Valentines Day Weekend Live Show Review Ex- widely. Some of them are perfunctory, obligatory func- Now imagine a small space on this line in the middle travaganza Feb 11-14th tions that are given to satisfy expectations. Others are and put the rest of the bands there. These bands create The exploits began on Friday night at Portland’s given, in a sense, to scam on the phrase “CD release” music that spin heads with the impact of an unrecov- Roseland Theater for Severina’s Fetish Masquerade Ball. and sell records. This was an actual CD release with all erable blow. They stand up against all of the odds, in- Playing downstairs was the ghoulishly lavish of the party favors included. A “ feed-the-third-world” cluding the jabs thrown at them by their own local com- Wakeworld. Wearing fiendish gas masks and sinister sized Italian buffet was followed by a neutron acceler- munity of musicians. Yet they last and they go on and robes and shooting deep red hand-held lasers into the ated, isotopically charged performance by the band. they imprint themselves indelibly on the face of the audience in a slow nightmarish blur, Wakeworld’s mu- Their CD, Volume, was well represented: I went through music scene. Put Slowrush there. They have had their sical re-enactment of an autopsy is something like in- a six pack of ear plugs in a 40 minute set. share of problems, but this does not pollute the music strumental death electronica. This really captures the The show began in a gloriously dark blur of dim and the spirit of the veteran, world class players that spirit of the holiday! Remember, nothing says “Happy lights and guitar feedback loops. The band, mere shad- define this powerful beast and helped it capture the Valentines Day” quite like taking your date to an au- owy figures in front of the amps, bathed the room in attention of several major labels. topsy. excitement as the feedback built intensity. The song fi- Their Epic debut release Volume is pop with Igniting the big room upstairs with a sampling of nally started with the band animated in strobe lights. teeth...great big sharp teeth. It’s a rocket ship blasting dark, hard core rock was Portland band Burgundy. In a They covered all the songs on their own CD with in- across space at light speed punching holes in the space- powerful, shadowy explosion this band sent some ma- spired enthusiasm. Garth Parker kicked off a few mea- time continuum. It’s a trippy interstellar tease that says, jor league decibels sailing off the platform. I kept think- sures of a ZZ Top cover while band leader Rob Daiker “all ahead full...engage!” ing to myself that I wished I had seen Burgandy the was changing guitars. This side party ended abruptly; week before when I reviewed Portland bands Maroon however, when Daiker returned to the microphone. Drive- Music For Interplanetary Travel and Blue. Then I could have had a live show review For all of the things that had to go right to get to CD -Secret Decoder Records called Burgandy, Maroon and Blue. Rats! this night, it seems ironic that the band’s most unfor- Produced by Ezra Holbrook, Drive’s music is like Lava De Mure hit the stage around midnight with tunate turn of events would occur on the dawning of a a dreamy experimental musical landscape. Violin thundering headlining presence. Their music, a pyro- new era for Slowrush. Rob Daiker, sadly announced that counter-melodies lilt and sway through the presence clastic flow of molten vocals outlining dramatic imag- long time players Blake Sakamoto and Dan Pred were of a variety of guitar sounds; everything from fast and ery with tribal beat-laden rock-n-roll marimba and giving their last performance with the group. There dirty to oscillating tremolo echoes. It has an atmo- blistering guitar riffs, was humid and inviting....inviting were no hard feelings and no falling out between band spheric quality as if it could blow away with the next what you ask? Well, one guy took off at least one article members. No fights broke out on stage. (I’ve seen that mass of wind and clouds, but is anchored down with of clothing and cast it onto the stage. Local rock god- happen before, but not with this band.) This being a big, FAT electric guitars. It has a produced West Coast dess Feroshia Knight casually plucked it from the plat- first time Epic tour for Slowrush, the budget slated was Indie pop flavor with highly memorable melodies and form and cast it back into the dark oblivion of smoke very low and everyone had to make their own deci- male/female vocals. Pamela Rooney’s sweeping, airy and people as if to say, “PUT YOUR CLOTHES BACK sion. Sakamoto and Pred opted out. These creme of voice is a magnet to pull you into this carefully crafted, ON!” the crop musicians are probably best known for their beautifully arranged and played music. This is a crown Then on Saturday night, Seattle band Sage opened work with the Dan Reed Network. Tours with the Roll- jewel. King Black Acid’s CD release at Satyricon. Sage, a ca- ing Stones, and many very well known bands, sual rock trio of guitar, bass and drums, sent forth a set plus a pair of high charting European singles with the Phamous Phaces- Suite 420 of groovacious original rock and got the job done quite Network are just some of the accomplishments of these CD-Independent release nicely. Now...imagine an entire school of goldfish in a two incredibly humble and talented veterans. With the Their music is like a Harley; dangerous yet re- little tiny bowl....all groping and squirming for the same inaugural tour beginning in March, it’s impossible to fined and it sounds really good. There’s a powerful piece of food floating at the top and you have the crowd imagine that their presence and musicianship won’t be rhythmic motor pulsing beneath the shiny chrome ex- setting for King Black Acid. It was packed in there, but missed. terior of this Eugene Band. Cool and refreshing as a well worth the inconvenience. King Black Acid began mountain of raspberry slurpies, here are some songs their set with a 20 minute long ditty that spanned the President’s Day Weekend that your music neurons will keep firing for. The entire “arrangement/feel” spectrum. Going back and CD preview-review Derby “Phaces” music is Beatlesque with a hint of Magical forth between steamy rock ballad segments and fat Mystery Tour infiltrating this beefy machine. Their punchy rhythmic explosions, you couldn’t get bored Headscope-3 song Demo songs are sleek, well arranged, and come bearing atti- with this song. Slap Company Records tude. Track one, “Letting Go,” with electric guitar, bass, Sunday night at the Green Room, 93 Days It’s funky, fiery and tight. It’s ablaze with rainy, and drums is pop that packs a mean punch. And just brought forth a shimmering set of acoustic Celtic, rock, sliding, agile female vocals by singer “Krys No.” This to make sure you know that they are proud to sport bluegrass and folk songs that overflowed with enchant- R&Bish, groove-rock band is a blast of the unusual. It’s their Beatles influences, they have a sitar on one song ing rusticness. Why was this surprising? Because the rhythmic and ghostly. There’s a sense that No is sitting as well as a hidden track called...... well I shouldn’t tell floor was packed with dancers shaking and wiggling on the rings of Saturn singing her stormy woes to the you...it is after all a hidden track. Let’s just say that it’s a away to the homegrown beat of congas, phase shifted stars. To Headscope I say..... more...we want more. Beatles song and its initials are, “I Am The Walrus.” Even and bowed stand up bass, flute and guitar. Think Jethro with its Beatlesque pop direction, Suite 420 is a CD full Tull meets Russ Barrenburg meets Bill Monroe and the Slowrush- Volume of intrigue and mystery. This is a disk that you can’t go Bluegrass Boys and you get pretty close to 93 Days. Epic CD wrong with. The Valentines Day weekend extravaganza ended Draw an imaginary line in your head. Call this on Monday night when Galaxy Quest played to an the Wavering Portland Rock Band Music Line. On the The Eric Savage Band @ MP3.com empty house at the Milwaukie Movie Theater. I give right side are the bands and singer- that 2 songs -Believer, Save Yourself this flick 2.5 stars... 1.5 thumbs up. The M&M’s received possess a mountain of talent, but are weak in market- Growling, whispery Jim Morrison-like vocals drift 4 stars. ing and gig getting skills. You don’t hear much about across these cynical, “ it’s a crazy world,” lyrics. It’s power (Lava De Mure plays March 11th at the Ohm and them, but they’re out there. On the other side of the pop with a dash of bluesiness in a tight instrumental April 1st at Dante’s Inferno) line are bands and singer-songwriters that possess mini- package. mal talent while playing every venue within the known Wetish, slippery keyboard sounds, beefy acoustic Slowrush- CD Release Party-The Ohm Feb 22 universe, due to their excellent promotional skills and and electric guitars and weird vocal effects with delays Ooh...nice party. After three years of very hard ability to create an unsubstantiated buzz. Extending out get a 4.5 on the groove-o-meter. (Groove-o-meter scale work, Portland band and recent Epic records signees from both the right and the left towards a small seg- 0-5) Slowrush, performed the ceremonial unveiling of their ment in the middle are the groups that are pretty good. debut Epic release Volume. CD release parties vary They play a fair amount and have a decent fan base. LL

Page 24 - TWO LOUIES, March 2000 March2000 Thursday9th JoePyeweedfeaturingLamarStilwell Friday10th WEDNESDAY 10:30-MID. DriveHeadlines/CameroHair 92.7 FM Columbia Gorge Saturday11th 100.7 FM Corvallis/Albany AndrewCalhoune(Celtic) Sunday12th March 2000 LewJones/MelKubik/Margaret Sloval/LyleFord7pmshow Wednesday15th GaryOganw/Guests7-9pm artist/label/title th

LAST MONTH THIS MONTH Thursday16 GoneOrchestra/SallyTomato(CarlosofSilkenseed) 3 1 KING BLACK ACID Starseed CD ...... And the Starseed Transmission Friday17th 2 2 VARIOUS Hush CD ...... Flag Tamlin&PeterMarshal(Irishtraditional) Saturday18th 4 2 THE HIGH VIOLETS Demo CD ...... Dream Army AshburyPark Sunday19th 6 3 DRYER Dryer CD ...... Outside Line GoneOrchestra/CheraleeDillon9pmshow 1 3 ALAN CHARING Lazy Bones CD ...... Seconds West Wednesday22nd MichaelBurley/WarrenPash/CalebKlauder/ • 4 HAPPY STARS Yeah It’s Rock CD ...... Punk’n Soul JamesLow/JonNeufeld 2 5 SUNSET VALLY Surgarfree CD ...... Boyscout Superhero DarrinCraigsongwritersintheround8pmshow Thursday23rd 11 6 ALAN CHARING Lazy Bones CD ...... Seconds West LoveNancySugar/JesusPresley/Blush • 6 PONTICELLO Ponticello CD ...... Dark Skies Friday24th Porterhousew/Guest 5 6 RELOAD Reload CD ...... Sex Ray Saturday25th • 7 PINEHURST KIDS 4 AlarmCD ...... Viewmaster Blyss/BigTimePop Sunday26th 9 7 KDB KDB CD ...... Y2KDB JohnHerrmann/LyleFord/JamesLow8pmshow th • 8 NIVEN Demo CD ...... Rain Wednesday29 GaryOganw/Guests7-9pm 12 8 HANK PLANK AND THE 2X4’S Demo CD ...... Venus Hair Trap Pigiron9:30pm th • 9 A MAN CALLED SUN Ammonite/TK CD ...... This Land of Eldorado Thursday30 Toca(acousticRubberneck) 8 9 CINCINNATI SON Demo CD ...... Cincinnati Son Friday31st • 10 GRINDSTONE Grindstone CD ...... Nowhere Under StephanieSchneiderman/CarminaPiranha • 11 THE DOLOMITES Advance CD ...... Hogshead of Whiskey April2000 st 12 11 LOVENANCYSUGAR Rock Kitten CD ...... EP Saturday1 X-Angels/JohnHerrmann 13 12 THE WHOLE BOLIVIAN ARMY Gargantuan CD ...... Amnesty Sunday2nd • 13 SILKENSEED SPA Records CD ...... Without Uand I...... HeatherontheMuir(Celtic) Wednesday5th StephanieSchneiderman8pm top tracks Songwritersintheround Thursday6th 3 1 KING BLACK ACID Starseed CD ...... “Into the Sun” LewJonesBand Friday7th 4 2 KAITLYN NI DONOVAN Hush CD ...... “YvesMontard” Dizzyfish/GoneOrchestra • 3 THE HIGH VIOLETS Demo CD ...... “Wheel” Saturday8th JoePyeweedfeaturingLamarStilwellw/Guests • 4 DRYER Dryer CD ...... “Preacher” Sunday9th • 5 HAPPY STARS Yeah It’s Rock CD ...... “Tell Your Daddy Goodbye” BillBloomerw/Guests Wednesday12th Fellerw/Guests live offerings at the church Thursday13th AcousticeveningwithBart,Dave&AlofKeroseneDream th Wednesday, March 8 ------PINEHURST KIDS - Live! Friday14th th TBA Wednesday, March 15 ------THE DOLOMITES - Live! Saturday15th nd Wednesday, March 22 ------BRIAN BERG’S 44 FRIENDS - Live! OrangeCollection th ------ALAN CHARING CALTROVERSY MondayOpenMic Wednesday, March 29 - Live! TuesdayReggaeNight th ------A MAN CALLED SUN Sundays&Wednesdaysshows7-10pm Wednesday, April 12 - Live! Alwaysacover th Wednesday, April 19 ------TELEVISION EYE - Live! 39th&Hawthorne 234-7474 TWO LOUIES, March 2000 - Page 25 Kate Lieuallen of the Riflebirds. photo Gustavo Rapoport

Page 26 - TWO LOUIES, March 2000 Slack. photo Jack Dean to offset the loss of the Pyramid club. Foj Kohler tance of the Riflebirds. had managed to survive a takeover attempt by his And, at first, Etzioni’s presence around the staff, while he was promoting the Riflebirds in LA. band in their Portland engagements created a flurry But problems with the Health Department, the Fire of excitement and anticipation. But then he man- Marshall and the OLCC, in addition to the land- aged to insert himself into the mix, playing man- Continued from page 7 band’s style of dance oriented Techno Pop, with a “Fred Cole’s unflagging dedication to making honest, touch of Soul, was a logical extension of the Mien Street sound. original music led to the formation of his own The Caryl Mack Band was another Eli’s favor- Tombstone record label. The envy of every musician ite. Spurred by her husband’s award winning songs (he won a PMA songwriting contest, among other in town, he had managed to acquire his own vinyl commendations) Mack’s vocal style was somewhat lathe, which allowed him to cut his own records.” akin to that of Rindy Ross. In fact, the band gener- ally gave the impression of being a Quarterflash in training. Professional, motivated and perserverent, lord, drove Kohler out of what seemed like a the dolin and guitar. Subtly, he altered the Riflebirds’ the Caryl Mack Band were the consumate MOR perfect Rock ‘n’ Roll venue. sound, a delicate balance between Folk and performing act. The Riflebirds got involved with Marvin Beatlesque Rock. Lead singer Kate Lieuallen, always The Long Goodbye, revived by new owners Etzioni, guitarist for , through drum- a retiring figure on stage, withdrew even further John Drichas and John Iven, was second only to mer Kevin Jarvis’ brother Duane. Duane was work- from the spotlight, diminishing the bands elegant Satyricon in the adventurousness of it’s nightly ing out of LA, playing guitar with the Divinyls dur- charm. band lineups. With separate upstairs and basement ing the time he met Marvin. On a trip to LA, Kevin When he eventually lost interest and left town, bars and stages— the new Long Goodbye witnessed piqued Etzioni’s interest in the Riflebirds, playing Etzioni took Kevin Jarvis with him— leaving the the likes of the Obituaries, Ed and the Boats, Radio for him their single, “Dreaming Of A Kiss.” Riflebirds the task of finding a new drummer, while Silents, the Riflebirds, Billy Kennedy and Napoleon’s Lone Justice had scored a national hit with they tried to figure out what had happened to them. Mistress, as well as serving as the breeding grounds “East Of Eden,” the single from their first major Though they went on playing for another year with for such favorites as Mike Danner’s soulful Dial label album: which featured the exciting young vo- a new drummer, they never fully recovered the Memphis, Mitch Fraas’ retro punks Green Room, calist Maria McKee. But the sophomore jinx struck momentum they had lost during that episode. the bar rock Batz and for the purist quartet, Surf on the second album and by release number three, Another popular band among the alternative Trio, among many others. Lone Justice was more or less adrift. It was at this set was Slack. Slack sprung out of the Reed College point in his career that Marvin made the acquain- The emergence of the Long Goodbye helped Continued on page 28 TWO LOUIES, March 2000 - Page 27 The Linn sisters. photo Gustavo Rapoport

introduced a form of music that was new to the of like minded individuals in Bruno, a gypsy Fagin Portland underground, opening the door for count- sort, who acted as the de facto in-house comedian— less local bands that followed after them— pro- and Stephen Spyrit, the owner of the enterprise. An pounding an admixture of Funk and Rap balanced astutely intellectual young man, availed of tremen- with Metal and Rock. dous abilities to organize and unify diverse assem- Continued from page 27 dorms, where bassist Steve Lew and drummer Yorck Franken regularly jammed after classes. Soon sax “The Caryl Mack Band was another Eli’s favorite. Spurred by her player Sam Hagerman started joining in on their husband’s award winning songs (he won a PMA songwriting sessions, creating a sound that incorporated Funk and Rap influences. Rap was just starting to break contest, among other commendations) Mack’s vocal style was into the white musical culture via the exuberant somewhat akin to that of Rindy Ross. In fact, the band generally rants of the . Not long thereafter, guitarist/vocalist Kermit gave the impression of being a Quarterflash in training.” Rosen entered the fold and the band began to play out around town. Slack soon became all the rage on the Satyricon/Long Goodbye circuit, with their Resurfacing after a recent tiff with Satyricon blies of people, Spyrit, as well as Bruno, would later goodtime stage presence and endless party dance owner George Tahouliotis, Ed Jones presently be- become unwitting participants in one of the most atmosphere. Joyous throngs of inebriated young came a fixture at the Stadium Inn near Northwest infamous incidents ever recorded in the annals of revelers swarmed to their shows. In addition, Slack 20th on Burnside. There, Jones found a confederacy Portland music. LL

Page 28 - TWO LOUIES, March 2000 at the Arnada Café on the 26th. Land of the music from their start in ’91 to present day. Blind’s third release, entitled “Ordinary Local punk act, All Out just finished record- Magic” is due in May. In the meantime, they ing at Egg Studios with Conrad Uno (Nash- urge fans to check out their newly released ville Pussy, Zeke, Gas Huffer). Look for the re- two-song single. The release features the song, lease on Last Chance Records in May. They Continued from page 12 “Church of the Holy Trees” which was ac- also contributed “54/40” to the upcoming cepted for the soundtrack of “Treesit”, the Dead Moon Tribute album (also on Last Lamar is accompanied by Arty Mays in the documentary of EarthFirst “Treesitter” Julia Chance). Blyss is currently working on a demo project. He says it’s nothing like Grindstone Butterfly Hill. (Hill recently came down from of some new songs at Falcon studio with pro- and calls the sound “modern-day Cat Stevens/ LUNA, the redwood where she lived for almost ducers Sean Norton, who engineered their Harry Chapin.” They have been recording 2 years.) Info on the film can be found by con- freshman effort, ‘Realsimplefeelgood’, and Rob demos and have hopes to release a CD this tacting Headwaters Action Video Collective, Daiker from Slowrush. They’ve also had some Summer. [email protected], www.havc.org. The second label interest from the likes of Epic and Vir- Did someone say CD? Oh, it was me! Well, song, “Tribe” was recently filmed live at Burn- gin, let’s keep our fingers crossed for the fellas! Written In Ashes and Plain Jayne both have new recordings tentatively scheduled out “One act you will be seeing a lot more of is a new in April. Mobius is having their CD release project headed up by Grindstone frontman, party at Mt. Tabor Pub on March 26th. Last but not least; Dead Red Head is working on a re- Lamar Stilwell called, Joe Pyeweed. Lamar is mix of their current album entitled “Eta Cari- nae”. Now folks I gotta say if that doesn’t sat- accompanied by Arty Mays in the project. He says isfy your upcoming need for new CD’s, well, it’s nothing like Grindstone and calls the sound hell, you’re more driven than me. What a truckload of goodies to look forward to! ‘modern-day Cat Stevens/Harry Chapin.’ ” With a quick look at touring, Suplex will find themselves further down I-5 in Califor- since we’re on the subject why not talk about ing Man ‘99 and will be premiered on a Spring nia March 17-26. Southern Nights is set for a all the releases on their way to our lovely mu- PBS special on tribal living. They were the mini coast tour, stopping by the Wayfarer 3/ sic stores for your purchasing pleasure? “house band” for the Oregon Country Fair site 18 in Cannon Beach, and Café’ Uniontown 3/ Sounds like a good idea to me! The Rev. Tony at Burning Man, performing 2 sets daily as 19 in Astoria and Land of the Blind will be in Hughes is about to shock us all with his first solo release. The upcoming full-length release “Craving Theo is currently recording their debut entitled, “Brand New World” on JPX Records is scheduled to come out March 4th. Tony says album in Seattle at London Bridge Studios with “its porngroove, and by all means as radio un- friendly as it gets.” This is one person that is world-class producer, Rick Parashar (, Alice definitely looking forward to it. Suplex has in Chains). Look for the release later this Spring. ” been busy on the release side as well. They’ve got a split 7" with Mars Accelerator on M- part of the huge desert festival, which hosted California throughout march with a NW tour Theory Records, a split 7" with Sputnik on 23,000 this year. to follow. P.O.W.! Records, and an upcoming split 7" on Craving Theo is currently recording their In other news, PSA Showcase Awards Fabrikmusic (Sweden), only to be available in debut album in Seattle at London Bridge Stu- shows are now being hosted at Lola’s. Contes- Sweden with a tentative Summer release. dios with world-class producer, Rick Parashar tants do not have to be members of the Port- Whew! (Pearl Jam, ). Look for the re- land Songwriters Association and anyone can Vancouverites, Smirk released their 2nd lease later this Spring. Threscher is currently full length CD in February with a CD release planning an upcoming anthology featuring Continued on page 30

I N N E R S O U N D P r o A u d i o R e p a i r s i n c e 1 9 7 8 F a c t o r y A u t h o r i z e d S e r v i c e : Alesis Denon Fender Fostex Korg Marshall Peavey Roland Sony Tascam Yamaha and most other brands 1818 SE Division Street • Portland • OR 97202 • 503-238-1955 • email:[email protected] TWO LOUIES, March 2000 - Page 29 from none other than Captain Jacks Tattoo Studio. This will elicit new merchandise from the band, and some gift certificates for free tats and piercings at their shows. Way to go guys! One thing I would like to mention is a Continued from page 29 favorable “plug” for the new club, The Blar- ney Stone. Once again this journalist finds herself clueless because she’s been spending enter - over 21(since Lola’s is a bar). For more too much time with a certain Tony Hawk video Established 1979 information contact Karolyn Laster (Green game, and has yet to visit the club. However, Publisher James E. Crummy Swing Productions) @ 998-7813. There are the comments I have received in the past Editor three music industry judges, and recording month from over 50 people have been boom- Buck Munger Director of Photography time prizes at some of the major local studios. ing with the sounds of success! If this club is Buko Writers The PSA 2000 National Song Contest will be- half of what I’ve been told, I truly think we’re Marc Baker Anicee L Cochran gin March 1st and go until sometime in Au- looking at a great asset to our local commu- S.P. Clarke Bart Day gust. Call 727-9072 for details. nity. I cannot stress enough, how much we Bud Palmer Robin Rosemond Greg Gilbert, Manager for the band Mel, desperately need good venues in this town. If Marianne Steiner has recently stepped into the booking arena you’ve spent anytime going to live events, you Photographers David Ackerman and is taking over booking Friday and Satur- don’t need me to tell you that. Gustavo Rapoport Layout & Graphics day nights at the Cobalt Lounge in March. Well, I have exhausted my typing fingers Buko Think that’s enough? Full plate? Well, neither for yet another issue, so I’m gonna sign off for Printer Oregon Lithoprint do I, so to add to his already full schedule, Greg now. Remember, if I don’t know about it, I Two Louies Magazine 2745 NE 34th is to be the sole booking agent for new club, can’t write about it! If you have any questions/ Portland, OR 97212 (503) 284-5931 Dante’s Inferno. Check this column next comments/concerns, drop me a line: FAX: (503) 335-3633 month to find out more updates on Gregs ad- [email protected] Email addresses: Editor: [email protected] ventures and news on the band Mel. Always remember “If you don’t stand for Layout: [email protected] © 1998 by Two Louies Magazine. May not be reproduced in any form So what’s the latest with local heavies, An- something, you’ll fall for anything.” without the expressed written consent of the publisher. Two Louies is available by subscription. Send $35.00 for one year, postpaid to: ger Management you ask? Well, it looks as 2745 NE 34th Portland, OR 97212 though the guys have retained sponsorship LL

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Page 30 - TWO LOUIES, March 2000 MUSICIANS CLASSIFIEDS FREE STOP IN ANY PORTLAND MUSIC LOCATION & FILL OUT THE FREE FORM

 Guitarist looking to form or join  Yer Cheatin Heart. Country  Drummer looking for working  Djembe’ drummer looking for band. Influences , Overkill, Guitarist Telecaster Tex. (503) 245- band. I’m powerful, dynamic in all group to add some African hard core. Exodus. Also a sound engineer. Rich 5116. styles. Can travel. (503) 358-7937 Shredding roles, signature solos and (503) 786-9886  Experienced drummer seeks  Drum lessons. All ages, levels. accompaniment. Bobby 360/576-  Vocalist looking for all original hard creative mature musicians to form or Affordable rates. Daryl (503) 692- 9143 rock band. Influences Godsmack, join band. Mix of influences & styles. 8186  Bass player. blah blah blah…just Powerman 5000, Filter, AC/DC etc. Jazz, Funk, Rock, Serious Only call  Guitarist available. 34 yrs old. 15 call me, we’ll figure it out. Dave 255- Call Rick (360) 883-3780 (503) 675-0206 yrs experience. Classically flavored 1950  Guitarist looking for a band or  Bass Player can sing, will travel, call electric pro-gear, tone, attitude. For  Bassist wanted for Blues/Groove/ people to start a band. Influences Van Gene (503) 245-5116 heavy melodic project. Have demo Funk/Rock project.Part time. We’re Halen, Queensryche, various others.  Experienced guitarist and bassist CD. John (503) 381-6621 into talent, fun and occasional gigs. I have my own gear. Clayton (503) looking for drums, vocals and keys.  Female vocalist-guitarist with We’re 30-42. Call: 417-3208! 356-0400 Interests; Gothic, Punk, Techno, Rock. soulful style looking for like male  Mobius is looking for a vocalist.  Wanted: Experienced Bass player. We’re looking to form something vocalist-guitarist for songwriting, Tool, Limp Bizkit, influences. The band plays Country, Classic Rock unique, not the same old crap. Call open mics etc. Many originals call Guts, melody and dedication are a and more. We have gigs. (503) 266- Chris (503) 244-5082, Myk (360) Deb @503/525-9514 must. No flakes! Mike 537-6852 1818. 260-0619.  Rhythm section into Funk/Blues/  Seeking Rock or Celtic guitarists for  Looking to form or join 3 or 4 piece  Guitar Guy is seeking a working or Jazz grooves seeking others (horn, jam and maybe form a band. acoustic band. I play bass & acoustic forming band. Interested in blues guitar, keys, vocals) to play. Geoff 246- Influences Enya, Loreena McKennit, guitar. I also write and sing lead and based music. Peter Green’s Mac, 1804 or Jim 287-4841. Clannard, , Van Halen harmony vox. David (503) 648-3474 Derek & the D’s, Stones. Guitar, harp  Wanted: Bass player. Between Flea etc. Richard 282-9142  Slipsand searching for versatile vocals. Patrick (503) 636-7449. and Phil) needed for established  Wanted: Bassist, keyboardist, musician with multi-instrumental  I play bass and sing lead & harmony original band w/CD release in drummer to play originals and covers talent for already moving and active vocals. Rock, Blues & Country. 25 December. Blake 775-2191 or Angela in the style of , Stones, rock (Jazzish, Funkish, etc) band. Joe years experience. 45 yrs old. Can gig 771-6910 Wallflowers, Fastball, Dead. 235-6976 (503) 228-7088 weekends, practice two nights a week.  Let’s play surf, Blues, Rock-a-Billy  Wanted Singer/Guitarist to form  Keyboardist, we need you ASAP. David (503) 648-3474 in the basement. Then…Keith 232- Duo with Singer/Keyboardist- Call: (503 698-5580)  Aarrgghh. One multi- 8785 guitarist to perform classic Soft Rock,  Looking for a reggae guitar player. instrumentalist & one vocalist/  Seeking drummer to complete our tunes for Dinner/Lounge Must be serious to be in this band, keyboardist available for Goth, band. Passion required. Afghan gigs in Bohemien atmosphere. own transportation and definitely Industrial, Progressive, Tribal type Whigs,Jawbox, Dinosaur Jr., U2, Emphasis on vocal harmony. Chas. have an open mind. David (503) 257- thing. Help us out here! Seth or Fugazi, Bowie, Gabriel. 654-1108 653-8374 4792 Rebecca. (503) 239-4895

“WE LOVE BACHELOR PARTIES” Featuring the most beautiful dancers in the Northwest NE 122nd & Glisan. Come on by for 255-5039 & CHAR BROILED STEAKS BREAKFAST, LUNCH or DINNER Club Cabos Open Daily 7am - 2am SE 18th & McLOUGHLIN we have 232-3799 OREGON LOTTERY GAMES TOO!!

TWO LOUIES, March 2000 - Page 31