TWO LOUIES, February 1999 - Page 3 Steve Holt of 36 Crazy Fists; High Spirited Music

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OREGON MUSIC / FEBR

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EL DISTORTO

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Wales

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photo Lissa TODD JENSEN

ALICE COOPER BAND OREGON LABEL GUIDE

Download MusicMatch Jukebox software and turn your PC into the coolest part of your stereo system. ewind; 1981. Sequel rules the club scene. Guitarist Greg Georgeson founded the R band in 1976. Joined by bassist Todd Jensen, drummer Grant Roholt and rhythm guitarist David Wall, the band, with Georgeson and Jensen vocals, quickly became a top club draw, demanding up to a $5 cover and regularly selling out the largest rooms. Supported by KGON through their manager deejay Bob Ancheta and booked by Andy Gilbert’s Pacific Tal- ent the band was surrounded by the most professional support. Sequel landed some choice opening slots for major touring acts and in 1981 Marlon McClain produced a Sequel album for David Leiken’s brand new Lucky Records label. In early ’82 Todd Jensen left for 9 months to join high school buddy Tommy Thayer’s band Movie Star, but came back to cut another un-released album with Sequel and stay till the group’s demise in the Fall of ’84. After Sequel broke up Todd moved to L.A. and caught up with Tommy Thayer who had by then released several records on Geffen with a group of Portland guys; Sequel opens for Ice House at the Paramount Theater in 1981. Black-n-Blue. In 1988, Todd and Tommy formed American Man Todd left Roth to join Hardline with members of singer Steve Perry. In early ’96 he became the full time and landed a management deal with Kiss bassist Gene Journey and Portland drummer; Deen Castronovo. They bassist with Alice Cooper and has toured and recorded Simmons. Gene changed the band’s name to Harlow and made one album for MCA. with Alice ever since. got them a deal on Warner Brothers. After Harlow. Todd and Deen then rehearsed an album with Ozzy The original Sequel lineup reunites at the Roseland Tommy Thayer went to work for Kiss, and Todd toured Osbourne. Grill, February 20th. with David Lee Roth. In ’94 Todd toured behind former Journey lead LL

“cheese from Anse,” or “ansey cheese.” Plinka plinka dinka dink. I located the sound as coming Your misspelling, oddly, has a meaning as well: Danse, from behind a fence. I looked through a knothole in the LETTERS “an alcoholic beverage of vermouth-flavored gin,” and planking and saw a little boy playing a guitar. He was the Mr. Munger, C’ombeau “of a reddish or rouge color.” Loosely, “pink cutest little guy, had on a little cowboy hat and little cowboy This is regarding your slagging of ElliottSmith as “Best gibson,” or perhaps, “pink martini.” boots, little cowboy shirt and little cowboy pants. He was Disappearing Act of 1998”. It seems odd that “XO”, an al- six or seven years old, and his face was pink and smiling, his bum that you refer to “sinking like a rock” has had Elliott Dear Mr. Munger, eyes closed, his head thrown back in childish delight as he touring Europe, Australia, the US (several times) and even For thirty years I’ve been attempting to get the best, lay in the grass playing, laughing, happy as he could be. He appearing on Saturday Night Live. most pure guitar sound on the face of the earth. I have ex- was playing an old beat to hell Roy Rogers guitar. Plinka I find it telling that the only impression you seem to perimented with all types of amps, decks, stacks, speakers, plinka plinka. He couldn’t really play either, and yet there it have of Mr. Smith’s musical career stems from Entertain- phase shifters, wah-wah pedals, distortion boosters, big muff was. . . the most perfect guitar sound on the face of the earth. ment Weekly and gossip columns. You were probably too fuzz wahs, choruses, reverbs, vibratos, tremelos, and I knew it immediately. busy watching TV to notice his sold out LaLuna shows. Oh whammy bars. I have hooked all of the above effects to- I think I learned something from that little cowboy well. gether, and then, through a carefully documented math- picker that day. I learned something that I think all guitar- Larry Crane, Jackpot! Recording ematical process of elimination, combined all the possible ists should learn. I learned that it doesn’t matter how much combinations thereof, recorded them, and altered them elec- gear you have or how many guitars you own. I learned that Mr. Clarke: tronically. I have analysed the sin waves of every guitar pos- it doesn’t matter how you technologize your sound or much It is a high compliment for our show D’Anse Combeau sible, and spent a fortune on Gibson Flying V’s, Strats, Les bullshit you buy from the local guitar shop guru. It doesn’t to be mentioned in the list of Oregon bands you printed in Pauls, Telecasters, Rickenbackers, arch tops, Dreadnoughts, even really matter if you can play at all. What matters is the January 1999 issue of Two Louies. Guilds, Takamines, Kayes, Epiphones, and Charvels, and that you discover delight and self-satisfaction in your play- If you’d like to include some of our music in your com- used a hundred different combinations of guitar strings, ing each and every time you play. Then and only then, will pilation feel free to contact me. from Ernie Balls to Blue Diamonds. you achieve the perfect guitar sound. We have a studio recording of Christmas music as well as several live tapes. I can describe it to you or provide dubs at your request. I’ll also check with Jim Baldwin (who played “It seems odd that ‘XO’, an album that you refer to ‘sinking D’Anse himself) for his input. like a rock’ has had Elliott touring Europe, Australia, the US A small point: in your article you spelled our name “Danse C’ombeau.” It’s a forgivable mistake — we were (several times) and even appearing on Saturday Night Live.” certainly the band most likely to have its name misspelled during our brief tenure. Correct would be D’Anse Combeau. Still, even after all this, my search had been in vain. Is Because, don’t you see? The perfect guitar sound - Jon Newton it possible that there is no such a thing as a perfect guitar comes from within. It comes from a place inside yourself, a P.S. — an academic side note — sound? I wondered. I was baffled and troubled. I was a place untouched by trademark or hyperbole, hairstyle or The original spelling of D’Anse Combeau is literally broken man, unsatisfied. sponsorship deal. And if you don’t have it, if you aren’t in translated thusly: D’Anse, “from the province of Anse,” and And then, one day, I heard it. I was walking through touch with it, you aren’t in tune with your world. You aren’t Combeau, “a semi-solid milk or dairy product.” Basically the neighborhood, when I heard a guitar being played. Continued on page 18 TWO LOUIES, February 1999 - Page 3 Steve Holt of 36 Crazy Fists; high spirited music.

Page 4 - TWO LOUIES, February 1999 ity exists too that her references come from an un- “I’ll grow weeds when the winds turn/And I’ll conscious muse rather than from some ulterior mu- grow them tonight/In the dark with a spade/I will dig sical intention. Still, “Nilsson,” her tribute to he late an early grave/In the candlelight.” This line of think- great Harry, manages to capture a great deal of what ing is carried out to “You’ll eat crow when the truth is was appealing about his music during his “Me And learned/And you’ll have crow tonight/And I will be “Little Sue Weaver has made great strides in the past couple of years in carving for herself an intrinsic stylistic niche, which affords her an identity: albeit sometimes a tad wan and wistful. Still, her unerring melodic gift and her knack for occasional lyrical discernment and perceptive introspection gives life to an unique voice.”

My Arrow” period of the early ’70s. set free/From the lies you put on me/When the wrong The album kicks off with the chugging train of was right.” “Down To You.” Over Williams’ insistently cheerful The gently laid-back “Sweetie” benefits from a beat, regular band bassist Bill Rudolph and ubiqui- delightful bridge, replete with Beatlesque vocal har- tous multi-instrumentalist Paul Brainard, here play- monies snatched from “Octopuss’ Garden,” and in- ing mournful pedal steel and jaunty dobro guitar licks, strumental elements reminiscent of “Wild Honey Pie.” Sue joins in with her warm and friendly contralto and And the lovely ballad, “Strong” which Sue co-wrote chortling falsetto, detailing the complex relationship with Hess, calls to mind Shawn Colvin meeting Aimee she shares with longtime friend, Big Sue (see June ’97 Mann in the gorgeous choruses and well-wrought TL review). bridge. A hit song, with countless elegant instrumen- The dark majesty of the title track is enhanced tal flourishes coloring every turn and phrase. Simply by keen acoustic string textures. S u e ’ s wonderful. dainty acoustic gui- Reminiscent of the song “Strength Of Strings” tar, Brainard’s from the solo work of the late Byrd Crow— Little Sue Gene Clark, “Warning Trains” also bears Cravedog Records Little Sue; produced by connections to Neil Young’s early work In the year and a half since her first solo release, Gregg Williams. with Crazy Horse, as well as Mike Chimneys And Fishes, Susannah Weaver: Little Sue, Nesmith’s post-Monkee Country has gigged incessantly— maturing both as a vocalist stylings, as Sue steers through and a songwriter. While still sticking close to her tra- with winsome weary vocals that be- ditional Country/Bluegrass roots, here she in- speak the plaintive quality of the in- corporates elements of Folk, Rock, Pop, strumental arrangement. Blues and Dixieland into her presentation “In The Morning” as well. With the aid of producer/drum- cops directly from Donovan’s mer Gregg Williams, she creates a distinc- early hit, “Colours,” making a tive mood and sound on nearly all of the slight turn away from incrimina- ten tracks. tion at crucial moments. “Ode To As was the case on the last record, Lynnie Mae” is a ghostly little chanty, Sue has enlisted the services of a plethora mandolin and accordion vying for the of local musical illuminaries, most of spotlight with Sue’s laconic vocal twang whom emanate from the Laurelthirst and rattlesnake male backup vo- constellation; including among many cals in the choruses. others, violinist Marilee Hord and Swampy. “Down” is a banjomeister Kevin Richey from cleverly written piece Golden Delicious, mandolinist Mick of interpersonal analysis, Chegwidden, Mike Danner, here on ac- with smart lyrical insights cordion; bassist Phil Baker and Tim all along the Ellis, here on mandolin; Warren Pash way. The final on keys; Nancy Hess and Lara Mitchell track, “These on backing vocals. Each artist adds a Days,” begins distinctive flourish to the highly styl- with a strange and ized arrangements. moody vocal intro, be- And, as with the first outing, Little Sue’s songs fore evolving into a Dixieland blues send- are simple affairs, without a lot of complex structures vaporous dobro, photo Buko up of the highest order. or elaborate constructions— that nick bits and pieces Hord’s ethereal fiddle and Little Sue Weaver has made great strides in the of old popular songs without being plageristic. There Baker’s Pastoral stand-up bass lines. Sue weaves a past couple of years in carving for herself an intrinsic is a certain reverence in her subtle lifting of familiar cryptic lyric, the clarity of which, over four verses be- stylistic niche, which affords her an identity: albeit melodic phrases and passages; although the possibil- comes as focused as a spider web in the sunlight. Continued on page 10

TWO LOUIES, February 1999 - Page 5 dd-X has been gracing Portland stages formers join them on stage. Their openness to col- could be a different person… I could be anything or with their fine musicianship and supe laboration proves their ability and confidence in cre- anybody playing music.” Arior performance art since mid-1996. ation and readiness to accept spontaneity. One show “Our wearing costumes makes it more anony- With a compilation CD release this month (includ- included “planted” audience members in freaky cos- mous, which makes the X-factor more noticeable,” ing Rollerball, Burgundy, Arcrot and 6 Foot Sloth) tumes, roaming through the crowd like bizarre ghosts: said The Girl. and a full length CD projected for late Spring, now is one a doctor with a walker, another a trucker with a Add-X also performs as Lounge-X and Ringers. the time to check out this local gem. skull face. Another show featured Mr. E hacking open “Lounge-X started out as a pseudo-jazzy thing to play “They kind of have their own thing going on his belly with a large serrated knife and throwing behind poetry,” said Err Ick. Lounge-X has played in and it’s really different,” said Bill, soundman for the bloody tapes into the Satyricon. “It’s something you just have to experience. Overall I would have to photo Juliana Tobon say audience response is pretty positive towards it. They put on a good show and it’s definitely worth checking out.” Add-X contains a heavy emotional element that is often lacking in their counterparts. “Add-X is all about creativity,” said Traci (on bass). “It’s about being able to let go of any kind of [!] inhibitions that get in the way of creativity.” In the past, Add-X has been a revolving door of musicians of sorts. Presently, they are seven members with a variety of backgrounds spanning from coast to coast. Front man Mr. E and guitarist/bassist Err Ick are brothers from California. Roach from by Susan Washington D.C con- Connell tributes some East ADD-X Coast flavor on keyboards, while The Girl on bass and guitar came to Portland from Milwaukee. Drummer Palu such bizarre places as Starbucks in Gresham. Ring- Geva is from Austin, Texas, bassist Traci came from ers plays two or more Sundays a month for the new the Chicago suburb Highland Park, and newest mem- Portland Organic Wrestling shows at the Satyricon. ber and percussionist Gromet came from Omaha, Add-X music has an immediate feel, reflecting Nebraska. the tensions of the modern world, yet somehow fa- Together they create a powerful roller coaster of cilitating a release of that tension. Their song musical energy dipping sometimes to melodic lows, audience, as if giving birth to the music via C-sec- “Wonderbuss” has an underlying urgency, with dy- and sideways to experimental moments. Bad-ass tion. namic highs and lows, while Mr. E sings, “I wonder “psycho-delic” grooves lay the foundation for Mr. E’s Members of the band usually wear modified gas why/people have to die/I wonder why/Children al- deep, sometimes voice-of-God-like vocals, accompa- masks or guerilla-like sacks or executioner hoods over ways cry/I wonder why/When I say these things/You nied by juicy, techno-tronic keyboards and occasional their heads. “[We wear costumes] to bring ourselves look at me/As if I’ve lost my brain.” “Turnip Parade” brass, harmonica, or whatever other instruments find closer to the audience. We’re not just up there indi- switches drastically between driving rock rhythm and “circus polka.” “Ssippi Ditti” has a dream like quality “Two drummers contribute heavy, locomotive with Mr. E’s surreal, distorted vocals, “There’s Tom Sawyer! There’s Huck Finn!” rhythms, featuring unique, industrial qualities from Costumes involving industrial uniforms, black boots, gas masks with taped on tubing and wiring, Gromet’s homemade welded steel drum kit and smeared black body paint and fake blood lend them- auxiliary percussion set-up.” selves to an apocalyptic, post-nuclear feel. And, of course, Mr. E in an old house dress and executioner their way into the mix. Two drummers contribute viduals playing, we’re up there creatures performing,” mask, dancing beautifully to the charges music, is heavy, locomotive rhythms, featuring unique, indus- said Mr. E. truly brain food. trial qualities from Gromet’s homemade welded steel “It’s more exciting watching bands like GWAR… “The one [!] great thing about every time we drum kit and auxiliary percussion set-up. They’re more fun to see,” said The Girl. play is that… when I look up… everyone is smiling. As if they need to prove their talents further, “Add-X is like the infinite variable; like what- If they’re having fun, then that’s cool as hell. If they’re Add-X often improvise and the results are phenom- ever you can imagine,” said Err Ick. “So I always having a good time… that’s what makes it all worth enal. Many times they have guest musicians and per- thought if I wore a different costume every time I while,” said Err Ick. LL Page 6 - TWO LOUIES, February 1999 RECORDING CONTRACT ADVANCES Also, even in the case of this “recording fund” If the band then gets an advance for the third ne of the most frequently discussed as structure, there will often still be a recording budget album of another $250,000, then the band is already pects of recording contracts is the is drawn up so that the record company will have some $700,000 in the hole when the third album is released. O sue of advances. Generally speaking, assurance that the band will not be trying to record As a result, the band will see absolutely no record roy- advances are designed to cover recording costs, and the album too cheaply or too expensively. Under alties from the third album until the total royalties also (at least in major label situations) to provide a many contracts for new bands, the band will not be from album sales exceed the amount of $700,000. In certain amount of money to cover some of the band’s entitled to start the recording of an album until the short, the record company has the right to recoup miscellaneous other expenses. A separate advance is record company approves the budget. from an album’s royalties not only the advance for paid for each album recorded by the band for the Typically, part of the recording fund will be paid that album, but also any past advances for earlier al- record company. at the beginning of the recording project (often one- bums which have not yet been recouped. Recording contract advances are often mega- half), with the balance to be paid upon the band’s There is also the “rolling accounting” problem hyped in press reports. For example, it is not unusual for a record deal for a new band to be hyped as a “million dollar deal,” whereas in fact that “million dollars,” is to cover, for example, the recording budgets for four albums at $250,000 per album, all of which will be recoupable from the band’s future royalties. A relatively small portion of that money will go into the band’s pockets as cash advances, and even that portion will be further reduced by deductions for management commissions, taxes, etc., with the rest often spent soon thereafter for living expenses, new equipment, etc. And, like advances for record- delivery of the masters to the record company. to consider. Often once royalties are starting to be ing costs, any such cash advances will be entirely re- ADVANCES ARE NOT GIFTS earned on a prior record, the recording company is coupable from the band’s future royalties. Also, the Advances are, in effect, merely loans to the band, just starting to pay the costs of the next record, and “million dollars” assumes that the label will exercise which will be deducted by the record company from deducting the new costs from the royalties about to its options for all four albums, whereas in fact the the band’s record sales royalties, but only from those be paid. label might elect to drop the band before all four al- royalties. If the band’s total royalties ultimately end up bums are completed. So if the recording costs for an album (and re- being less than the total advance(s) paid to the band, “RECORDING BUDGETS” AND “RECORDING lated cash advances to the band) are $200,000, and the record company will, under the terms of the usual FUNDS” the album generates $300,000 in royalties payable to recording contract, have to “eat” the shortfall, since There are two different ways in which record- the band, the record company will reimburse itself the record company will only be entitled to be repaid ing contracts can deal with the issue of advances: (1) By providing for “recording budgets”; or (2) By providing for a “recording fund” for each album. In other “Recording contract advances are often mega-hyped words, the typical recording contract will be struc- in press reports. For example, it is not unusual for a tured either on a “recording budget” basis, or alter- natively, on a “recording fund” basis. record deal for a new band to be hyped as a “million 1. “Recording Budgets.” In the case of recording dollar deal,” whereas in fact that “million dollars,” is contracts based on “recording budgets,” the record pays the recording costs directly to third parties, such as to cover, for example, the recording budgets for four recording studios, based on recording budgets to be albums at $250,000 per album, all of which will be approved by the record company. The record company holds on to the money until the costs are in- recoupable from the band’s future royalties.” curred, and then makes payment for those costs directly to those third parties (such as recording stu- (recoup) from royalties the first $200,000 (in order from the band’s record sales royalties. The band mem- dios). to reimburse itself for the $200,000 advanced), then bers will not be personally responsible for repaying The record company may also advance the band, pay the band the remaining $100,000. the advance, hence such advances are generally re- separately, a certain specified amount of money for The record company’s right to reimbursement ferred to in recording contract legalese as “recoup- the band’s anticipated living expenses during the re- is carried forward from album to album. Let’s take, able but non-returnable advances.” Any band should cording project, and sometimes for other expenses for example, an extreme (and admittedly unrealistic) be sure that its recording contract is worded this way. as well. situation, exaggerated to make a point. Let’s say that “CROSS-COLLATERALIZATION” 2. The “Recording Fund” Structure. In the case a band receives $200,000 for the first album, and (to Incidentally, and this is extremely important, any of a “recording fund,” on the other hand, the record make it very simple), let’s also say the record sells zero band should be absolutely sure, before signing a re- company pays a certain specified amount of money units and therefore generates absolutely no royalties. cording contract, that the contract allows the record (the “recording fund”) directly to the band, which the Then the band records a second album for $250,000, company to recoup advances from only the band’s band then uses to pay for recording costs, etc. If any- and that record also generates no royalties. So, when record sales royalties, and not also from the band’s thing is left over, the band will pocket the balance. starting the third album (assuming that the band has publishing royalties from record sales (i.e., Theoretically this is designed, among other reasons, not already been dropped from the label at that point, “mechanicals”). In recording contract parlance, the to give the band an incentive to record the band’s al- which obviously is a very questionable assumption), record company should be contractually barred from bums as cost effectively as possible, since the band the band is going into the third album already “cross collateralizing” against mechanicals. gets to keep whatever money it does not end up $450,000 in the hole. (In reality, the band in that sce- MINIMUMS AND MAXIMUMS spending on recording costs. However, as a practical nario would likely be even further in the hole, due to Recording contracts usually specify that a cer- matter, however, even bands paid on this “recording record company’s recoupable advances to make mu- tain dollar-amount of advance will be paid separately fund” basis frequently run over-budget. sic videos, etc.) Continued on page 17

TWO LOUIES, February 1999 - Page 7 Fang, Billyclub,, Blowhole (some of whose members are from GWAR), Dayglo Abortions, and many more. The CD will feature an album cover by P. Earwig, who designed the inside cover of the first Mr. Bungle CD. Crazy Bastard Records will also be releasing a seven inch of the band, Fist Mate- rial of which Bentley said jokingly, “It sucks. Don’t buy it.” Undercover, Inc. will be releasing Lisa Miller, by Susan Connell Bird Dog and Blues from the Pacific Delta Part II. Jan Celt of Flying Heart Records is presently erry Currier describes his newest label ruary 8th and 12th at Berbati’s. Fernando is wrapping plugging current material including the recent sam- Sideburn Records as an “American Roots up an album, and all of these Cravedog Records acts pler “A Taste of the Blue Rose.” Flying Heart Records T Music Label.” Sideburn’s first release by will be attending SxSW. recently fired City Hall Distribution and now distrib- Rudy Tuttie Grayzell has received “stellar reviews” Crazy Bastard Records is about to release an- utes through Burnside Distribution. in Billboard Magazine and elsewhere, said Currier. other tribute CD in late March or April. The G.G. Rainforest Records is soon to release Grayzell has been on the scene since the 50’s and just Allin Tribute CD is selling well in Japan and the East ANatHema’s “Kill Your Higher Power”, an experimen- opened a club on Sandy Boulevard tal noise album. Rainforest is also work- called Rudy Tuttie’s. Sideburn’s sec- ing with Julie Jones and the Things ond release will be in April by the You Are, described by owner Ray Portland band 44 Long, Woods as “adult contemporary mu- whose singer/songwriter/ sic.” Other bands on the producer Brian Burg has photo Buko Rainforest label in- written 1500 songs. clude Silkenseed, Currier’s other label, who are working which specializes in on new material, The blues, Burnside Brainwashers, a Records, will be re- surf instrumen- leasing Big Dave and tal band, and the Ultrasonics from Floating Point, Michigan, who have a side project of played the Portland Sylvia’s Ghost. Waterfront Blues Fes- Rainforest is now tival two out of the last online through City three years. Duffy Bishop’s Search and their new album “Fly the own web site at Rocket” and Paul rainforestrecords.com Brasch’s acoustic blues Nathan Steinbock of album produced by Terry Cloud 99 Pro- Robb are due to be released in ductions, Ltd. in April. Mason Ruffner, who Salem, is taking a played on Bob Dylan’s No break from label Mercy album and opened work while he for U2 will have a release in composes music for the Salem May. Burnside is also work- Thy Infernal; Die when you Die. Riverfront Carousel, and another carousel in ing with Bugs Henderson, Terr y Robb, Henry Coo- Missoula, MT. per and Mick Clarke for releases this year. “We’ve Coast, and has even found it’s way into Musicland Elemental Records is having a rather quiet quar- never put out more than four records in one year, so chain stores. It has received “nothing but good re- ter, and it’s “quiet on the Floater front for once,” said as you can see…” said Currier. So far this year, nine views” and has had some airplay and promotion on Elemental Records Owner Jonathan Boldt. Floater bands are scheduled for release with Burnside or KNRK, said Crazy Bastard Records owner Andrew are working on a live album in Tacoma with two new Sideburn Records. The labels also have new distri- Bentley. The new release will be a Meatmen Tribute studio tracks, due to be released this summer. The bution in France. CD, including such bands as Bomf!, Witch newly signed band The American Girls are presently Warren Pash (on Cravedog Records) and Jerry Throttlegush, The Secludes, Stagger, Monkey Fur, negotiating with major labels Interscope and Epic, and are in Portland cutting a demo on a Sony publishing deal. The American Girls also placed a song “The newly signed Elemental band The American on the television show “Cupid”. Girls are presently negotiating with major labels Elemental Records’ recent winner of the Sonic Explosion Competition is Drive. Boldt, who has re- Interscope and Epic, and are in Portland cutting a cently come into some land in New Mexico, will be moving Elemental there in June, but will continue to demo on a Sony publishing deal.” support the label’s Northwest bands. Whether or not he will continue to sign Northwest bands or seek out Joseph and the Jackmormons are gearing up for a Threscher, Blag Dahlia, John Cougar Concentration bands closer to the new headquarters remains to be tour of the East Coast and Europe. Little Sue will Camp, The Nobodys, Anal Cunt, The Murder Junk- seen. celebrate a record release of her album Crow on Feb- ies (one of whose members is G.G. Allin’s brother), LL

Page 8 - TWO LOUIES, February 1999 cigarettes on death row. AMERICAN CANCER SO- CIETY protesters picketed outside and vowed to get an injunction prohibiting the condemned killer from receiving smokes. “The public’s right to execute a em- physema-free convict outweighs the individuals right to embrace cancer causing behavior” said a spokes- man. JOHN TESH and KENNY G. are teaming up for a new record and tour. Set to hit the road in may, the tour has picked up corporate sponsorship from EXTRA-STRENGTH PROZAC CHEWABLES and NUTRASWEET and is set to hit Portland ..NO-NO- NO. OKAY. Wake Up. It was just a baaaaaad nightmare. byRozzRezabek-Wright Speaking of nightmares. I’m sitting out in the suburbs with a nice cup of Sanka nursing a relative ll of us old timers can celebrate 1998 as called to tell me I hung myself on drugs, or OD’d with just out of major surgery and I’m reminded just how the year that wasn’t. No OD’s, cancer, car a noose around my neck. I asked him if he was sure it tentative life is. A crashes in Portland. All the usual sus- wasn’t autoerotic asphyxiation? The whole RICHARD MARTIN-S.P. CLARKE- pects rumored at deaths door survived and even pros- Attendance was down for the 3rd straight year PDXS-PEDRO LUZ-TOO LOUIES flap is just soooo pered in some cases. Long time Portland rockers TOM at the annual “FREE LARRY” benefit. The K.G.O.N. Portland. Jaded music critic’s are nothing new. Most ”that can’t be good for his heart” PIG continues his sponsored event was sparsely attended despite an of you probably are too young to remember the whole prolific recording career. Fellow POISON IDEA alum all- star talent JOHN WENDEBORN -OREGO- JERRY “iron lung” A. Still going strong de- photo Buko NIAN scandal. To make a long spite stories of some weird breathing story short he was sipping ailment. chardonnay at jazz “Satyricon” SAM HENRY concert’s while review- still the best drummer in Port- ing rock concerts. land and ANDREW “dead Nobody knows ex- moon walking” LOOMIS, the actly how many other best drummer in Port- shows he reviewed land. Even ancient MARK while never actually STEN of the OBLIVION SEEK- attending. He was an ERS (though hospitalized several early hero of our phone- times for anorexia) continues to it -in society. I too cling to life like a non- celluloid am particularly C.MONTGOMERY BURNS. I jaded so I don’t lis- too, was rumored dead in early ten to anyone’s rap 98, it traced back to something about “THIS GREAT JELLO BIAFRA’s girlfriend NEW BAND YOU overheard at a you-know-who GOTTA HEAR” etc. concert. Unfortunately it was but I will say 2 people I think are fairly ROZZ WILLIAMS of CHRISTIAN Jerry A; still going strong. savvy music affectionado’s have raved about the glory DEATH. I got a series of calls from S.F. that is PEDRO LUZ to me. One even gave me their then messages from new York on my machine and line up and a .92 cent cover charge. Local luminaries CD. If I had a CD player I’d play my own CD, I’ll get then finally a local bar. Somewhere in some bizarre NEVERCLEAR, ANUS WANKLY, THE RANDY to it. What’s with the name ?It sounds like street slang search engine of the internet it says to contact me at DOORKNOBS, and 5 GIRLS NAMED HO did their for Mexican Quaaludes or rohypnol laced pez or the VIRGINIA CAFE thru FERN (who doesn’t even best to liven up the proceedings at the near empty something. It would stand to reason that SP would work there anymore) and its strange. MELISSA CISCO AND PANCHO’s. The VERY SLOPPY portray his own band in a favorable light. I don’t know jack about JESUS PRESLEY. RICHARD MARTIN was some faceless WILLYWEAK pug who thought “Sam Henry is still the best drummer in Portland the depth of my musical character was defined by the stalker slut I balled over a decade ago. He always re- and Andrew “dead moon walking” Loomis, is the ferred to me as ”former frontman” or “ex-lead singer” other best drummer in Portland. Even ancient Mark or my personal favorite ”OBSCURE FORMER LO- CAL MUSICIAN”. Hey RITCHIE, I’m not dead yet. Sten of the Oblivion Seekers (though hospitalized ROZZ and NEGATIVE TREND; THE POP SES- several times for anorexia) continues to cling to life SIONS was on 3 of MAXIMUM ROCK-N-ROLL’s top ten lists and is getting great reviews, even in SE- like a non- celluloid C.Montgomery Burns.” ATTLE! Talk about your insular world, its become fairly obvious that WILLYWEAK is dominated by ROSSI, INSIDE EDITION, NICK BROOMFIELD FRATBOY’s came on last and failed to elicit much cliquey little crackers writing about each others and the B.B.C. All initiated contact that way. When response even when they played their smash hit bands-drinking Starbuck lattes in the morning and the word of my untimely demise ultimately reached “HOOT, PUKE, RIOT”. Sponsors said they raised 17 snotty micro-brews over pad Thai 2-for-1 coupon Portland it was a total nonevent. KEITH BOLLINGER dollars for the beleaguered night club owner LARRY dinners in the evening and then off on a PEST- LIST- of WHITE NOISE RECORDS (my current label) HURWITZ. Sources say the money will be used for Continued on page 17

TWO LOUIES, February 1999 - Page 9 had a degree in Clinical Psychology: coming to the Elisabeth confronts a relationship in the final throes same conclusions, but from a specifically non-trailer of co-dependent entropy. “Tears’ll Be Pouring” shares trash standpoint. its structure with “Six Days On The Road,” but slowed The album kicks off with the title track, a lazy down. The tune benefits greatly from one of Rosie honkytonk number, fleshed out by Geoff Clarkson’s Flores several guest stints as backup vocalist. Hank Continued from page 5 rubbery guitar Rasco and Jean Pierre Garau throw out Jerry Lee Lewis sometimes a tad wan and wistful. Still, her un- lines and Pete inflected piano riffs. erring melodic gift and her knack for occa- Burak’s “The Lights Of Town” seemingly takes Hank sional lyrical discernment and perceptive in- pedal steel Williams’ “Your Cheating Heart” and sets it on its ear, trospection gives life to an unique voice. This musings, with satisfying results. Flores’ appearance on “Instant wonderfully produced album is deserving of ra- asLove” makes for a pleasing sort of Everley Sisters ef- dio airplay— KINK being the obvious choice fect. The “El Paso” flavored “I Took The Blame” and there. Likewise, it is deserving of wide public “ I Can’t Behave” seem like opposite sides of the recognition as being a finely crafted piece of same coin somehow, neatly illustrating Elisabeth’s work. ambivalence regarding relationships in general. Tired Of Drowning— The Countrypolitans With Flores and guest lead vocalist Dale Ultrapolitan Records Watson adding a Haggard-like weariness to In the year since their five-song demo his parts, “Basic Information” stands as the release, Elisabeth Ames and the best cut of the set, with some fine lead guitar Countrypolitans have firmed up their lineup work by Watson and Clarkson. Bassist Roger Conley while solidifying musically, achieving steps up to the vocal mic on the final track with the much of the promise they exhibited somewhat predictable “Truck Drivin’ Daddy.” And on the maiden voyage. Concentrat- Clarkson sits in the driver’s seat with ing on a traditional Patsy Cline the instrumental bonus track “Day- Country sound, with alt.country ac- break In Vegas.” couterments along the lines of the Cowboy The Countrypolitans don’t ex- Junkies. It’s an interesting mix, with pro- actly break any new instrumental ground on ducer Tim Ellis laying the slapback echo this outing. But they play well and play well onto most tracks as if it were barbecue sauce together. Elisabeth Ames has an alluring being slathered onto a roasting rack of steer, voice, if somewhat lacking in real emotional con- culminating in a sound that seems lifted directly from nection with her material, despite the fact that her mid-Fifties Carl Perkins albums. songs seem to have a great deal of personal flotsam Elisabeth has a voice as smooth and warm as a photo Buko floating around in them. jar full of Southern Comfort. And the band exhibits Terry Robb; unselfish. Continued on page 19 a lot of Country pluck, while Rock sensibilities occa- sionally emerge from . The songs, mostly written by Ames, while always maintaining a proximity to clas- “The Countrypolitans concentrate on a traditional Patsy Cline sic Country structures and subject matter, nearly always get a wild hair and veer off into a 21st century Country sound, with alt.country accouterments along the lines perspective; giving the material a bit of a fresh (if of- of the Cowboy Junkies. It’s an interesting mix, with producer ten somewhat depressing) outlook. For in this version of Country hell, the drunks Tim Ellis laying the slapback echo onto most tracks as if it were attend AA meetings and find a sort of “religion” through introspection and self-actualization. Merle barbecue sauce being slathered onto a roasting rack of steer, Haggard turf it ain’t. Yet it would seem that Elisabeth culminating in a sound that seems lifted directly from mid- has walked through that neighborhood a time or two on her way to an uneasy sobriety. In all of her songs, Fifties Carl Perkins albums.” she examines her relationships as if Tammy Wynette SAT. FEB 20th

with special guest REUNION DELUSIONS OF ADEQUACY

Page 10 - TWO LOUIES, February 1999 Burnside Records CM Records 3158 E. Burnside 8948 S.W. Barbur Blvd. Portland, OR 97214 Portland, OR 97129 (503) 231-0876 (206) 233-8530 voice Fax: (503) 238-0420 Fax: (509) 782-4414 Email: Owners: Craig Meros, Amy [email protected] Flynn OREGON LABEL Web: http://www.burnsiderecords.com Producers: Michael Par, Owners: Terry Currier & Jim Brandt Calvin Walker, Peter Producers: Various Cusumano, Matt Burke, Types of music released: Blues Darik Peet. Artist roster: Paul Brasch, Johnny Types of Music Released: & the Distractions, John Fahey, M. All types. Doeherty, Mick Clarke, David Preferred Submissions: Friesen, Obo Addy, Lloyd Jones, Too Not accepting Slim & the Taildraggers, Kelly Joe submissions currently. Phelps, Terry Robb, Duffy Bishop Artist roster: Beluga, Captain 3-G, Little Sue, Richmond Band, McKinley, Gary Myrick, Butphuk, The Drews, Glenn Fontaine, Can’t Stand the Smell, Kinds of Sheila Wilcoxson,Bill Rhoades& Falkenberg, Havana Blast, The Volume 2 (compilation), Gern deals usually offered: CD, cassette. Alan Hager, Bugs Henderson. Hydropods, Neil Henderson, Just Blanston, Iommi Stubbs, Scribble, Artist roster: Paul deLay Band, J.C. Distribution: Burnside sub- Plain Bill, The Kegel Muscles, Vox Impopuli (poetyslam cassette). Rico, Linda Hornbuckle, Lloyd distributes two Portland based Limegrind, Moral Crux, The Nivins, Distribution: TRC, Get Hip, K. Jones Struggle, Dave Stewart, Jim labels: The Magic Wing and Eurock. Moss Dog, Napalm Beach, Partner, Records, Just In Case, Miles of Mesi Band, Joe Dobro, Too Slim & National distribution through Picklehead, Stickerbush, Snow Bud, Music, N.A.I.L., Bayside, Blitzcore, the Taildraggers. Distribution North America and Snaut, Sarge Stransky, The Swine, direct and in house. Rock Bottom. Sweat, Silicone Jones, Calvin Walker. Elemental Records Affiliated Labels: Sideburn, a roots Distribution: Performance (New Crazy Bastard Records P.O. Box 1617 music imprint coming fall of 1998. Jersey), Mosh Pit (Colorado), Asia- 503-223-2317 Eugene, OR 97440 Pacific Hawaii, Japan), Tower (Asia), 16420 S.E. McGillivray, Suite 103-831 (541) 345-1429 Candelight Records CM Records (Oregon Vancouver, WA 98683 Fax: (503) 342-2827 2125 S.W. 4th Suite 305 &Washington). Owner: Andrew Bentley Email: [email protected] Portland, OR 97201 Kind of Deals Offered: Upcoming Owner: Jonathan Boldt (503) 226-3538 Cloud 99 Productions, Ltd. Meatmen Tribute Compilation Producers: Drew Canulette, Bill Fax: (503) 221-0556 P.O. Box 3939 Artist Roster: GG Allin Tribute Barnet (Artist’s preference is Salem, OR 97302 Compilation featuring: Village negotiable.) CandyAss Records (503) 370-8116 Idiot, Witch Throttlegush, Plaid Types of music released: Alternative P.O. Box 42382 Fax: (503) 370-8116 Pantry Project, The Procrastinators, Rock (whatever that means Portland, OR 97242 Owners: Nathan & Nettie Steinbock Iommi Stubbs, Little Mission anymore). (503) 238-9708 Personal Manager: Seymour Heller. Heroes, Threscher, Bastard Children Preferred submission formats: Fax: (503) 238-0380 Executive Producer: Danny Kessler. of the Roman Empire, N’Jas, The Cassette; with accompanying Types of Music Released: All kinds. Producer: Dick Monda. Secludes, Thy Infernal, touring / giging information. Preferred Submission Formats: Type of music released: Jazz, Hyperthermia, 90 Proof, The Kind of deals usually offered: Full- Tapes if you want to submit them. Country, pops Contemporary, Delinquents, Evil Genius, Fall From length CD projects, one-off singles Artist roster: Team Dresch, Surf M.O.R. and children’s album. Grace, Naked Violence, The for compilation projects. Maggots, New Bad Things, Hazel, Artist roster: Lisa Haley, Li’l Elmo Jimmies, Drain Bramaged, Vaginal Artist roster: American Girls, Kaia, Free to Fight Self Defense and the Cosmos, Dick Monda and Discharge, Genocide Rapers, Fist Sweaty Nipples, Floater, Jolly Mon, Project, Vitapup, Thirty Ought Six, Daddy Dewdrop. Material. Meatmen Tribute Henry’s Child, Glowing Corn, 151. featuring Butt Trumpet, The Anzio Bridgehead, Dutchboy Distribution: Revolver USA. Cravedog Records Dwarves, Shot Out Hoods, Drain Fingers, Tao Jones, International P.O. Box 1841 Bramaged, Bomf!, Witch Anthem, Aggro Batch. “Northwest Cavity Search Records Portland, OR 97201-1841 Throttlegush, Chore Boy, REO, Ungrunge” and “Northwest Post- P.O. Box 42246 (503) 233-7284 Speeddealer. Grunge” compilations featuring Portland, OR 97242 Email: http://www.teleport.com/ Elemental recording artists as well Email: [email protected] ~swamp/cravedog.html Criminal Records as: Black Happy, Cherry Poppin’ Owners: Denny Swofford, Owners: Todd Crosby. P.O. Box 25542 Daddies, Mommy, Rubberneck, Christopher Cooper Producers: John Beluzzi, Karl Portland, OR 97225 Sadhappy, Sweaty Nipples, Types of Music Released: Music we Brummer, Jim Crabbe. (503) 244-5827 Thunderjelly, Village Idiot, Artis the like by bands we like. Types of music released: Punk, Types of music released: Northwest Spoonman, Bogwan, Built to Spill, Artist Roster: Apt. 3 G, Satan’s Spoken word, hard- edged Blues, R&B. Dirt Fishermen, Fingers of Funk, Pilgrims, Gern Blanston, Atomic 61, alternative, punk-pop, various. Preferred submission formats: Hitting Birth, Imij, Medicine Hat, Elliot Smith Types of deals offered: varies. We’re not looking for new artists Neros Rome, Rhino Humpers, Artist roster: Sissyface, Apartment right now. Continued on page 14

TWO LOUIES, February 1999 - Page 11 THE GRAND OL' SOAP OPRY On The Cover: Todd Jensen.of the Alice Cooper band. Rock”, due out Feb. 23rd. Meredith has a new release from the Ron Howard Portland’s Super Sideman returns for the Sequel Reunion. Billboard covered the release in a feature story Janu- movie soundtrack for “Ed TV”, due out March 26th. Her (see: Rewind P. 3) ary 23rd entitled “Kill Rock Stars’ Sleater-Kinney Rises To song “Careful What You Wish For” was written and per- ♥♥♥ New Challenges On ‘Hot”” by Carrie Bell formed specifically for the film and soundtrack CD, in stores Success is the best revenge... The female trio, (with nobody named Sleater or March 16th. Last’s month’s mention of former Heatmiser front Kinney around), features Corin Tucker on vox/guitar, Car- ♥♥♥ man Elliott Smith drew the ire of several of Elliott’s homies rie Brownstein on guitar/vox and Janet Weiss on drums. More... “Success is the best revenge.” (see letters P3 ). BB reported, “‘Hot Rock’ is chock full of the music Pedro Luz, who imagine themselves wronged at TL And now this... Sleater-Kinney is known for: raw, guitar-based punk with hands, score a deal with MTV to have music from their EP Elliott’s album “XO” sputtered back onto Billboard’s alternating emotive vocalists, played with the passion and “All Our Friends Took Your Side” used in the MTV show; “Heatseeker’s” Chart” January 16th, re-entering at #37 with reckless abandon of first-time musicians.” “The Real World”. a bullet. Probably because it showed up in a lot of critics Sleater-Kinney’s last KRS album, “Dig Me Out” sold In spite of the critics... year-end picks, including Rolling Stone’s “Albums That 56,000 according to SoundScan. In the BB story, a buyer ♥♥♥ Mattered In 1998”. for the 7 store Penny Lane retail chain, thinks the new record Wrong again. By Feb. 6th, “XO” had dropped off the chart. will do well. “It should be big for us. The last one did really Turntables erred last month for claiming Warren DreamWorks is having a nightmare. well and sold over an extended period of time...It is one of Pash and Jeff Trott played in Pete Droge’s band together. Billboard’s current cover story; “DreamWorks Is the few records in our punk section that people over 25 are They did not. Striving To Live Up To Great Expectations” (2/6/99) by interested in.” Warren Pash, as a solo, opened for the Pete Droge Chris Morris, sez “According to data from SoundScan, not Sleater-Kinney come home to puddletown Febru- band. While Droge was doing his sound-check, Warren one of the 32 albums released by DreamWorks since mid- ary, 27th at La Luna.. March 5th & 6th they’ll showcase the “walked over to Jake’s and had an outstanding meal, 1996 has sold in excess of a million copies.” new material at two high-profile music industry gigs in dropped by Powell’s book store, and found a book I had Not one Platinum Record on Spielberg’s wall. Hollywood, at the Roxy on the Sunset Strip.... been looking for, for ten years, and by the time I got back DreamWorks marketing, promotion and publicity to the hall, I had decided I was moving to Portland.” functions have been handled since the beginning by Geffen Warren Pash appears at the 1201 Club Satur- Records, which has now been gutted in the Universal / day, February 27th PolyGram merger. (see Jan.TL) Jeff Trott and Portland drummer Morris says in BB, “While several of Gregg Williams played together in Pete DreamWorks new acts have garnered strong Droge’s band. critical notices, airplay has been scant, and their ♥♥♥ sales have not been commensurate with their Jeff Trott and Gregg Williams also press.” played together in Sheryl Crow’s Elliott is mentioned as an artist that band while she was has “proved to be a big critical favorite but recording The hasn’t found great commercial acceptance so Globe Sessions for far. ‘XO’, the August label debut of Elliott the, (sigh) now Smith-who previously recorded for defunct A&M indie Kill Rock Stars and received a Records. much-publicized Academy Award The Globe Sessions is nomination last year for his song up for The Big One. ‘Miss Misery’, featured in the Oscar- NARAS has nomi- winning “Good Will Hunting”- nated Ms. Crow for a Grammy, has sold 97,000 units.” (as the producer), for “Album Of 97K on Kill Rock Stars The Year” up against Garbage, would be gangbusters... Lauryn Hill, Madonna and Shania Elliott Smith appears at Twain. LaLuna February 25th. photo Buko The 41st Annual “Grammy” Awards will be held in ♥♥♥ Dane Petersen; off the bus. Los Angeles, February 24th Luther Russell’s deal-in-progress ♥♥♥ with Geffen Records for his new band Federales is, so far, Just east on Sunset, in Hollywood, is one of the hippest As a member of the Board Of Governors of the Pa- one of only two new band signings to survive Geffen’s “fold- musical instrument stores in the world, the truly legend- cific Northwest chapter of NARAS, Two Louies legal col- ing-in” to Interscope. ary Guitar Center at 7425 Sunset. umnist, Bart Day will be attending the Grammy Awards “I was fully prepared to be dropped.” says Luther. Outside the building are large murals of famous play- in L.A. Luther’s A&R connection is already at Interscope. ers who frequent the store. Bart is also on NARAS’ Entertainment Law Initia- Federales play a rare gig at Satyricon, Feb. 27th. January 25th, Meredith Brooks and her Stratocaster tive committee, which will be having a luncheon the day ♥♥♥ joined Dave Navarro, Garbage and Kenny Wayne Shep- before the Grammy Awards with Arista Records president Sleater-Kinney would be joyous with the sale of 97 herd on the Hollywood wall. Clive Davis. thousand copies of their new Kill Rock Stars release, “Hot But is she a Picker?

Page 12 - TWO LOUIES, February 1999 BY BUCK MUNGER Art Alexakis is up for a Grammy too... wanted to sleep and I had to ride on the third bus, ...the Millennium Music had been using the name in South Everclear’s “El Distorto De Melodica”, a track off “So one with the tee-shirt guys...” and North Carolina for four years. Much For The Afterglow” is nominated for the Grammy “I said, (expletive deleted) that! According to a story in the Business Journal (2/5/ Award for”Best Rock Instrumental Performance” up “I grabbed a cab across town to the Memphis Coli- 99) by Gina Binole, Music Millennium owner Terr y Cur- against tracks by Pat Metheny, Propellerheads, Joe Satriani, seum, where Korn was playing, got in back-stage and rier became concerned when Millennium Music began Kenny Wayne Shepherd and Jimmie Vaughan. hitched a ride on their band bus to Nashville where I got franchising and created an interactive Internet web page. “El Distorto De Melodica” will also appear in Art’s my plane.” Currier’s suit, “asked the court to decide whether an inter- feature movie debut “Committed” for Miramax. In the film, Korn carries a Fall From Grace CD in their tour bus active web site is enough to convince a court that consum- his band, Arturo Y Los Distortos performs a “Tejano ver- music library. “I’ve know these guys for years.” says Dane ers believe there’s a similar business using a too-similar sion” of the Grammy nominated tune. “The Korn guys loved the fact I was thrown off the Jour- name in a single marketing area.” Terry claimed trademark Everclear plays close to home February 14th, when ney bus for being too rowdy. I fit right in with Korn.” infringement and asked the court to force the South Caro- Sno-Core ’99 stops at the Salem Armory. On the bill with Dane said his wise-guy attitude toward Journey may lina company to change its name. EC are Soul Coughing, Redman and DJ Spooky. have started years ago when he District Court Judge Ann Aiken ruled the web site ♥♥♥ worked as an overlap was not enough and dismissed Terry’s suit, leaving How many hits has Everclear’s album, “So Much another music company with the federal trademark rights For The Afterglow” produced now? to the name Currier’s stores have been called for thirty The sixth release to radio “One Hit Wonder” is years... climbing the Modern Rock Tracks chart at # 22 with a Those who possess trademarks don’t necessarily have bullet after 3 weeks on that chart.(2/6/99) the rights to a domain with the same name. Everclear will perform “One Hit Wonder” on ♥♥♥ the Late Show With David Letterman, Friday, March Here today, gone tomorrow. 5th. The Portland music community was elated when ♥♥♥ ASCAP chose Portland over Seattle for their Northwest More Super Bowl XXXIII results... membership office, but after barely three months the new Eon Records is behind schedule... ASCAP connection has moved to Los Angeles... Eon owner, Tommy Thayer, is a production Wade Metzler, T/K Records executive, and local

assistant for the band Kiss who played in the Tobon Juliana photo membership recruiter for ASCAP, accepted a promotion Superbowl pre-game show. Tommy had to be in and transfer to the Hollywood, California offices,. Miami to help Gene with the downfield blocking... Ron Sobel, Vice President and head of the West Coast Eon Records has new product coming from office says, “Wade’s ascension to full-status Membership Dan Reed, Generator, Jeff Labansky and Tommy’s guy was the confluence of a rare L.A. office opening...and brother and Eon co-owner; John Thayer. his dynamic success in heralding the musical virtues of ♥♥♥ Portland. We are actively engaged in seeking a replacement Dane’s Journey adventure. to fill Wade’s enormous Portland shoes.” Fall From Grace frontman Dane Petersen got Submit your resumes to: Ron Sobel ASCAP 7920 W. an invitation from Journey’s drummer; Deen Sunset #300, Los Angeles, CA 90046. Castronovo to fly out and join the band on the ♥♥♥ road in Memphis for some tour dates. Gone today. “They were playing the Orpheum theater The largest catalog distributor of musical instruments right on Beale Street” says Dane. “We went to a rib and gear in the world; Musician’s Friend located in joint next door to BB King’s club before the gig, it was Medford, Oregon has fired 68 people in a corporate re- great. Unfortunately, I started drinking the second I took Dandy Warhols; in the studio. structuring that sent the “call center” to Salt Lake City. off from Portland and I got pretty wasted.” engineer-gofer at a recording studio in the Bay Area, where Musician’s Friend was founded in 1982 in a milk barn “I was on vacation.” Journey recorded. in Eagle Point. The company grew to 270 people by 1997 “I wasn’t workin’, they were.” “Every day Steve Perry made me drive all the way and will continue to employ 165 people in Medford in Dane buddied up with Castronovo’s drum tech; Brett across town to get him this special milkshake for his throat. corporate offices, customer service, technical support and Vallory-younger brother of Journey bassist; Ross Vallory. I told him I could get him a milkshake right down the retail store. “We were pounding ‘em down and gettin’ kind of street, but no, it had to be from this special place.” ♥♥♥ rowdy-and I told Neil Schon he looked like Billy Joel-which Before Dane’s journey, he and Castronovo were 15 minutes of fame... got a big laugh out of everybody.” working together on a recording project called “Repellent”. Pentapus Multimedia is shooting a documentary Things went downhill from there. “I hope he’s not too mad at me.” laughs Dane. film-Understanding The Northwest Music Scene,-in and “I think it really pissed Neil off.” says Dane “I heard ♥♥♥ around Portland in February and March. about it right away from Deen.” Music Millennium establishes E-commerce prece- They’re looking for interviews with record company “Journey had three new buses, all the same. When I dent. owners, A&R, publicists, booking agents, recording engi- went to get on the Band bus with Deen, they said I had to Portland’s legendary indie record retailer sued a South neers and producers. ride on the Roadie bus with Brett. Then, when I went to Carolina corporation over their use of the name Millen- Call Director Weetus Cren at 206/524-6168 get on the roadie bus, they said we were too loud and they nium Music by a chain of franchised record stores. LL

TWO LOUIES, February 1999 - Page 13 I PUBLIC N: W ! Memory. • Visit our Fun New Pro Audio Store, Studios, & Plant Other services offered: producer • Cheap prices on the Coolest stuff like Mackie Digital OREGON LABEL services and bands wishing to make mixers, ProTools24, CD Burners & Neumann mikes! their own releases. Distribution: City Hall, Twin Brook • Cheap CD and Cassette Dupes- Any quantity! • Quick CD Copies! • New Digital Mastering Studios Continued from page 11 Grining Idiot • Cheap DAT, Cassette, & CDR blank media prices! P.O. Box 10634 • Everything for recording under one roof for Musicians! Rorschach Test, Running with Eugene, OR 97440 ™ Scissors, and Tiny Hat Orchestra. (541) 485-2236 SuperDigital Distribution: Distribution North Fax: (541) 344-7242 America (DNA), Valley Records, The Recording Store Owners: Raenie Kane & Colleen F NEW STORE NW 19 & K Dutch East India, Bayside, Rotz Baxter CYBER GEEKS: .. 228-2222 Records, Mean Street, Impact Music, Type of music released: Pop, Punk Ivy Music and N.A.I.L. Rock (stuff we like). Preferred submission formats: Eurock Records demo tapes with promo kits; we ✯ P.O. Box 13718 listen to all of them. ✯ ✯ Portland, OR 97213 Kinds of deals usually offered: Full (503) 281-0247 length records, license deals, singles. ✯ ✯ Fax: 281-0247 American« Coin« Machine« Artist roster: Kpants, Oswald Five- ✯ ✯ Email: [email protected] O, Klorox Girls. Sega, Pinballs, Video Owner: Archie Patterson Distribution: N.A.I.L., K., Scooby Types of music released: License Doo, Get Hip. ✯ ✯ Automatic Products recordings by European & American ✯ ✯ Dixie - Narco artists. IMP Records ✯ Preferred submission formats: P.O. Box 34 Used Games Cassettes. Portland, OR 97207 Kinds of deals usually offered: CDs. Owner: John Flaming 700 SE Clay 233-7000 Artist Roster: Dweller at the Types of music released: Punk rock. Threshold, Gandalf, Robert J. Kind of deals usually offered: Horky, Erik Wollo, Green Isac, Tim Singles. Story. Artist roster: Spinanes, The Shaven, Distribution: DNA North America, Jackknife, Oswald Five-O, Burnside Records. Mudwimmin, Crackerbash, Calamity Jane, Barbara Lien, A Dick Flying Heart Records Did. 4026 N.E. 12th Ave. 15480-B SE 82nd Drive Portland, OR 97212 Jus Family Records Clackamas, OR 97015 (503) 287-8045 2718 S. W. Kelly Ave. Suite 316 Joe Casimir Email: [email protected] Portland, OR 97201 Used Guitars & Amps http://www.teleport.com/~flyheart/ Electronic Repairs & Custom Modifications 557-4668 (800) 757-1851 Factory Authorized Service for all major brands Fax 557-4670 Catalogue: http://www.teleport.com/ Fax: (503) 284-1755 Used Equipment including vintage tube amps. ~flyheart/fhcatalg.htm Owners: Terrance Scott, Bosco Large Tube Inventory Owner: Jan Celt Kawte MTS Producer: Jan Celt Types of music released: Hip-Hop, Types of music released: Original R&B and any other form of good Northwest artists and related music. projects. Preferred submission Formats: Preferred submission formats: cassettes Demo cassettes. Artist Roster: Cool Nutz, Kenny Kinds of deals usually offered: Mack, G-Ism, Monkey Mike Album projects, publishing of related materials. Lazy Bones Records Artist roster: Janice Scroggins, Tom 9594 First Ave. N.E. Suite 230 McFarland, Obo Addy, The Seattle, WA 98115-2012 Esquires, Napalm Beach, SnoBud & (206) 820-6632 the Flower People, Snobud Comics Fax: (206) 821-5720 by Chris Newman, Phillip’s Dream Owner: Scott Shorr World coloring book for children, Producers: negotiable written and illustrated by Chris Types of music released: Everything Newman, Eddie Harris, Thera but Country.

Page 14 - TWO LOUIES, February 1999 Preferred Submissions: CD’s & Artist roster: Silkenseed, The cassettes. Brainwashers, A Nat Hema, Obscured Tina S Marie Band Kind of Deals usually offered: Full By Clouds, Julie Jones, The Appearing at length CD. Redondos, LoveNancySugar, Sylvias Dr. Feelgood’s Artist roster: Headland, Neros Ghost, Jesus Presley, Doris Daze, Rome, Turntable Bay, Blackhead Cheralee Dillon, Land of the Blind, February 19-20th Distribution: ILS (Mercury), Tree Frogs, Gravelpit, H.E.A.D., CD “Namaste” Burnside Distribution. Naked Violence, Savior, Roger available at Music Nusic, New Bad Things, Shine, Millennium and Lucky Records/Macman Music, Inc. Pleasure Center, W.O.R.M. Locals Only. 10 N.W. 6th Avenue (“Wammo”), Affirmative Action, Portland, OR 97209 Medicine Sunday, DickFinger, The For bookings call (503) 248-1988 Shaven, The Refreshments, Caustic 736-1257 Contacts: David Leiken, Bill Hall, Soda, Billy Snow, Live at Laurelthirst or 230-1869 Jr., Marlon McClain, Producer. Compilation (15 bands). Producers: Project by project. Distribution: N.A.I.L., Burnside Types of Music: Rock, R & B, Funk, Distribution Corp., various others. Fusion, Blues Artist Roster: Dazz Band, Vail Space Age Bachelor Pad Johnson, Curtis Salgado & Terry P.O. Box 10494 Robb. NuVision/Darkhorse: Dennis Eugene, OR 97440 Springer, U-Krew, Sequel, Dan Reed (541) 343-5962 Network. MacMan: Shock. Fax: (541) 344-9919 Distribution: Independent. Thursday, Email: [email protected] Doc’s Bar & Grill Owner: Stephen Perry. 3000 SE POWELL BLVD. National Dust Records Producers: Stephen Perry. March 25th WITH BANGIN’ MOON P.O.Box 2454 Contact: Howard Libes: 541-343- COMING SOON: “MAN IN A GLASS” Portland, OR 97208 5962 THE EP FROM PIPE DREAMS ON CD (503) 903-0625 Types of music released: Swing, Contact: Shan Ska, Rock, Punk, Acid-Rock. “HEAVY METAL NEVER DIES” Producer: the bands choice. Kind of Deals usually offered: Types of music released: Punk rock, Depends on artist. rock’n roll. Preferred Submissions format: CD, Preferred submission formats: Tape. tapes/records. Artist roster: Cherry Poppin’ Kind of deals usually offered: % of Daddies, Buckhorn, Billy Jack. product pressed. Distribution: N.A.I.L. Artist roster: Apt. 3G, Nixon Flat, Nervous Christians, Jimmies, Low Schizophonic Records Rent Souls, Lazy Boy. 17 S.E. 3rd Avenue Suite 501 Distribution: Profane Existence, Portland, Oregon 97214 N.A.I.L., EFA (Europe). (503) 736-3261 Fax: (503) 736-3264 Rainforest Records Owner: Mike Jones 1122 S.E. Ankeny St. Producer: Drew Canulette, Tony Portland, OR 97214-1324 Lash and Brian Berg. The band (503) 238-9667 decides. Fax: (503) 238-9814 Types of music released: Many. Email: [email protected] Preferred submission formats: Owner: Ray Woods. Cassette, DAT. Billy. Producers: Ray Woods, Michael Kinds of deals usually offered: Cubbon, and the bands. Depends on artist/project/deal. The book. Types of music released: All types Artist roster: (current) Vehicle, of music (no limits). Jackson Pollack 5ive, Carmina Please send $12.00 Preferred submission formats: We Piranha, Svelt, Dave Allen, The plus $2.00 to cover no longer respond to unsolicited Elastic Purejoy, The Violets, postage costs, to: demos. Torpedo, The Jimmies, Arcweld, Kind of deals usually offered: Shove, Gravelpit, I-5 Killers No Fate Publishing Varies: Singles, albums, recording, compilation series features: 3800A Bridgeport Way W. production and national/int’l Sprinkler, Dose, Hazel, Spinanes, Suite 492 distribution. University Place, WA 98466 Continued on page 16

TWO LOUIES, February 1999 - Page 15 Make your recording dreams Submission format: cassette. OREGON LABEL Artist roster: Sweet Baby Onion, a reality at the NEW! The Willies, Trip 21.

Tombstone Records P.O. Box 1463 Continued from page 15 Clackamas, OR 97015 U.S.A. studio Saliva Tree, Roger Nusic, Marble (503) 657-0929 Orchard, M99, Hitting Birth, Sugar Fax: (503) 631-2797 Boom, Drunk at Abi’s, Flapjacks, Owners: Fred & Toody Cole Dead Moon, Diggs, V.O.I.D., The Producer: Fred Cole Daddies, Killing Field, Dharma Types of music released: MONO Bums, Red Vines, Rawhead Rex, ONLY!! Mostly original garage and Wicked Ones, Carl Hanni, psychedelic, raw rock ’n’ roll. Confidentials, Crackerbash, Blu- Preferred submission formats: binos, Hellcows, Oily Bloodmen, Tapes mixed down to 1/4" reel to Gift, K Pants, Everclear, Thirty reel. DAT cassette or high-quality Ought Six, Kaia, The Wipers, cassette. Plunger, Oblivion Seekers, Anal Kind of deals usually offered: We Solvent, New Bad Things, Caveman press mostly 45s, but can do LPs and Shoestore, Oswald 5-0, CDs. Supersuckers. The Violets, Artist roster: Dead Moon, Flap Gravelpit, Skiploader, Time Killing Jacks, Spider Babies, Jr. Samples, 8 Isabel, Buttermilk, The Diggs. Ft. Tender. Distribution: N.A.I.L. Distribution: Get Hip, Cargo. up to 32 tracks digital Midnight Records, Burnside 16 track analog Tim/Kerr Records Distribution (CD’s only). P.O. Box 42423 Steinway, Hammond, Portland, OR 97242 Undercover, inc. Rhodes, & 16 other keyboards 761-0964 (503) 236-0013 P.O. Box 14561 Fax: (503) 233-1056 Portland, OR 97293 Email: [email protected] (503) 230-7728 Owners: Tim Kerr, Thor Lindsay Fax: 503-239-6558 Producers: It’s up to the band. Email: [email protected] Preferred submission format: Owners: JJ Gonson, S. Donald Cassettes. Gonson, David Christopher. Kinds of deals usually offered: Producers: varies. Designed to fit artists. Types of music released: young, Artist roster: (current) Manray, new, different bands. Dandy Warhols, Super Deluxe, Preferred submission formats: Torcher, Oblivion Seekers, Pigpen, solicited 7", tapes, CD’s. Pilot, Tchkung, The Wipers, Kind of deals usually offered: Smegma, Pere Ubu, Miss Red standard Undercover, inc. deal. Flowers, Can Can Dynamite, Ray Artist roster: Project label inclusive and Glover, John Fahey, Carmina of Tiger Stripes Forever, Crash Piranha, Michael Stirling, and Course for the Ravers A Tribute to flapsdown. the Songs of David Bowie, Distribution: Exclusive distribution Catpower, Birddog 7". for CD’s through Koch Distribution: Caroline, Cargo, International. Vinyl distributed Parasol, and in house. through Dutch East India, Smash, Get Hip, Caroline, Cargo and others.

Ten Ton Records 625 SW 10th Suite 231-C Portland, OR 97205 (503) 287-5502 Producer: Keld Bangsberg or bands choice. Types of music released: alternative; all kinds. LL

Page 16 - TWO LOUIES, February 1999 come. FriscoDisco Ya know, back to what I shall now and forever- Continued from page 9 more refer to as “THE CONTROVERSY”, all these GUEST- LIST excursion to another lame knock off wars of words seem so minor in the long haul of life. Continued from page 7 by a jury of their peers. Most of these crap band are Its just soooo Portland. I remember back in the day so contrived and derivative its like a cartoon drawing everyone in the scene tried to foment this THEATRE for each album under the contract, and will state the a cartoon of a cartoon. I’m not bitter ..really more OF SHEEP-BILLY RANCHER rivalry and it was re- minimum and maximum amounts for each such al- reflective. I have no illusions about being a viable, ally nonexistent except for a few offhand remarks I bum advance. marketable entertainment commodity any longer. I made in a WILLYWEAK interview (when was the last The structure for these minimums and maxi- never was good at doing lunch. I had my good old time you saw a band on the cover) and it escalated mums is usually as follows: The contract will specify days and they rocked, now I’m dad. like much ado about nothing. Eventually a battle of a certain set amount for the first album’s advance. When I was a serious contender in the early 80’s, the bands at STARRYNITE sort of settled it. There For albums after the first album, the contract will Portland seemed to lack the star maker apparatus nec- was no animosity or jealousy really, it was just differ- specify (for each album) a minimum dollar-amount advance (called “the floor”), but will also provide in effect that if the album sells well, the advance for the “Michael Hornburg’s hilarious spoof of the Portland next album will be computed at 60% to 70% (typi- 80’s underground music and art scene, “Bongwater”, has cally, two-thirds) of the royalties earned to date by the band from the prior album (or sometimes, the been made into a small budget movie starring that chick average royalties earned from the prior two albums), who plays “Zoe” on Cybill Shepard’s C.B.S. show” but only up to a certain specified maximum amount (called the “ceiling”). essary to really break a new band. The acts that had ent. Billy’s groupies drove nice cars, had cocaine, Typically, these minimum and maximums will seminal success were all old-school or rhythm and drank fancy rum drinks and tended to be blonde. increase from album to album. For example, the blues. QUARTERFLASH, JOHNNY KOONCE, NU THEATRE OF SHEEP groupies rode the bus, baked minimum amount for the second album might be SHOOZ (now there’s a double bill; NU SHOOZ and cookies, read poems and usually smelled of henna and $200,000 with the maximum at $300,000, whereas for PEDRO LUZ at the HOUSE OF BLUES) and really clove cigarettes. the third album the minimum might be $250,000, and were anything but alternative. Now I see a huge web Negative energy is a drag.especially when its the maximum at $350,000. of clubs, labels, recording studios, production facili- bullshit and misguided. Hope all you PORTLAND CONCLUSION ties and slimy power lunch weasels but alas, the tal- ROCKSTARS get it sorted out. If you think its nause- Given all of these various factors, it’s easy to see ent gene pool is a mere puddle these days. I think it ating to hear me wax nostalgic, go ahead make my why seemingly successful bands sometimes receive was a couple years back when I realized I was out of day. E-MAIL me at [email protected] and send a tape( much more modest levels of income than one would touch. I saw this band HAZEL and they sucked be- care of TOO-LOUIES) outlining why you’re the otherwise expect. These various factors also illustrate yond belief. For month’s afterwards I read all these breakout star this town is waiting for. If you have to why it is so important for a band to structure its record great things about them. FAST-FORWARD six explain it too much, chances are you will become an- deal in the most favorable way possible. months later I’m in Seattle and a girlfriend convinces other lump of clay on this rainy plodding assembly Editor’s Note: Bart Day is a Portland-based en- me it was a bad drug combination ,so I see them again line of ho-hum mediocrity whose only joy is the ex- tertainment attorney in private practice. He is also the 165 miles north and they still SUCKED to me. That’s hilaration of telling yet another waitress ”I’M IN A co-owner of ALLMEDIA, Ltd., a company with offices when I realized I was clueless or just don’t get it any- BAND”. This ain’t Liverpool sweetie, you still need to in Portland and Los Angeles. ALLMEDIA specializes in more. I mean, I like my music raw and crude, but leave a tip. administering the licensing of music for film, television, ever so often a touch of tonality and the slightest hint LATE NOTE; MICHAEL HORNBURG’S hilarious commercials, and computer games. of a pop- hook and I’m satiated. I don’t need slick, spoof of the Portland 80’s underground music and art Bart is also a co-author of the new edition of I’ll dig anything warts and all if its good. scene, ”BONGWATER”, has been made into a small bud- The Musician’s Business and Legal Guide, a book Everyone is racing to copyright ”2000 this” and get movie starring that chick who plays “ZOE” on compiled by the Beverly Hills Bar Association and “millennium that”...Y2K and K.Y. too. I have my own CYBILL SHEPARD’s C.B.S. show. Reached for comment published by Prentice-Hall Publishing (New York). catchphrase- soundbite, I am registering as the “OF- in New York, Hornburg is optimistic the film will do well, The reader is cautioned to seek the advice of the FICIAL DISSENTING VOICE OF THE NEW MIL- even though they changed all the characters names, and reader’s own attorney concerning the applicability of LENNIUM” and I want to go on record as saying I’m the ending, and just about everything else but the title. the general principles discussed in this column to the against it!!! I want to party like its 1999 for decades to Optimistic...yeah right. LL reader’s own activities. LL

Established 1979 James E. Crummy Publisher 2745 NE 34th Portland, OR 97212 (503) 284-5931 FAX: (503) 335-3633 Email : [email protected] © 1998 by Two Louies Magazine. May not be reproduced in any form without the expressed written consent of the publisher. Two Louies is available by subscription. Send $35.00 for one year, postpaid to: 2745 NE 34th Portland, OR 97212 TWO LOUIES, February 1999 - Page 17 Bill Rhoades LETTERS & Alan Hager Continued from page 3 “Runnin’ & Ramblin’” making music, you are just playing the guitar. And you are, (Burnside 0030 essentially, a fumbling, egocenric, self-absorbed dork with Continued from page 10 CD Only) too much gear. Still, the band shows improvement and cohe- Yours truly, This Pacific Northwest harmonica and Devon “Techno” Bolstofferon siveness over their initial effort. And they seem to acoustic guitar duo tears through a spirited know the direction in which they wish to go. There is 14 song set of originals and traditional blues every reason to believe that they will continue to im- covers. Dear S.P., I think it’s a wonderful idea doing a CD of Portland prove as they mature. Big Dave & The music. I’m glad to see Here Comes Everybody is included John Henry— John Henry Bourke Ultrasonics on the list. So here is my official contact letter. I hope that Broken Records “Self Titled” we can be included in the most recent 90’s era because the One of several prime motivational forces behind (Burnside BCD0031) the Treefrogs, singer/guitarist Bourke serves up five “RE: Pedro Lose, Martin well-crafted tunes that display a wider stylistic range than was exhibited with his former mates. He is joined Latest release from Michigan’s finest blues Whines-What’s the Big Fricken practicioners. “If there were any doubts Big by several former Frogs, as well as an assortment of Dave & The Ultrasonics belong among Deal with a band getting a other Laurelthirst-affiliated musicians. The result is America’s finest blues-rock bands, their new crappy review? Heaven fore a finely wrought piece of Americana. Intelligent and album puts them to rest.” heartfelt. ✬✬✬✬ 1/2 - Ann Arbor News fend that a critic criticizes.” “Trouble” features former Crackpots, bassist Bill Rudy “Tutti” Rudolph and drummer Johnny Lambert and some recordings are much higher quality. Since we are an excep- Grayzell wonderfully unusual solo slide mandolin work by the tion in the industry being together for over 13 years, and erstwhile Dan Haley, as John Henry moves through a “Let’s Get Wild” still going, I’d like to suggest that other 80’s bands represent sort of Fogarty/Creedence groove laid over the Stones’ (Sideburn 1001 that era. I know there is a lot of competition for this. It’s “Dead Flowers.” Former Frog Bill Leeds tosses in CD Only) because HCE is the HCE of the 90’s with two recent CD releases within a year that I feel HCE would be somewhat mis- gentle harmonies across John Henry’s pleasant tenor, represented since we are still so active now. I should clarify as a tale unwinds of misplaced values and shattered 1950’s rockabilly legend returns with his first dreams. full-length album in his 40+ year career. that we still feel our material is strong, from whatever era or Backed by The Skeletons, “Let’s Get Wild” recording we’ve released (hence our recent CD release “Thir- John Henry and Leeds are joined by Frog broth- features “Duck Tail” and 13 other rockers. teen”). We’ve been working extremely hard to update people ers drummer Jeff Duffy and saxman Rob Matthews Available November 1998. to our new sound and show (Once More With Feeling). on the rousing “Charlie Parker.” a loving tribute to Things are going well, and we’re seeing our best response the bedeviled saxman, and perhaps the spirit of ar- ever. tistic freedom that he represents. A strong chorus and Let me know what you think. We definitely want to a high level of musical energy throughout call to mind Burnside Records is proud to introduce be included either way. Thanks also for all the press too. some of the better work of the Dave Matthews Band. a second label of fine music, Sideburn We really do appreciate it and are honored to be included Records. Sideburn will be dedicated to on your list. Let me know if you have any questions. I look A very cool number. rockin’roots music both contemporary forward to hearing more about the project! “Augustine” is a wayward riverboat of a tune, along the lines of the Band’s “The Night They Drove and vintage. Burnside will continue to Take care, S.P.! - Rene’ Old Dixie Down.” Crackpot Bobby Soxx contributes be the Blues label it has always been, a drowsy lap steel, as Chris Kokesh lays down soulful bringing you the finest acoustic and Editor - fiddle fills and the peripatetic Wayne Thompson in- electric blues from around the globe. RE: Pedro Lose, Martin Whines terjects artful accordion interludes. Another memo- Look for new releases from Big Dave & What’s the Big Fricken Deal with a band getting a rable chorus lodges itself in the brain of the listener, The Ultrasonics, Duffy Bishop and Paul crappy review? Heaven fore fend that a critic criticizes a sweet, gospel-tinged confection, with multiple tiers someone’s talents and concepts. I happen to think that Jesus of rich background vocals. Brasch on Burnside Records and a new Presley sucks. Does that mean my mommy didn’t love me? release from 44 Long on Sideburn No, it’s just my opinion. I wonder if Richard Martin’s mom Duffy kicks off “Backseat Driver” with a spir- Records in 1999. should be blamed for his lashing out at critics who take up ited, dashing beat as John Henry chimes in on the a contrary position on a FRICKEN ROCK BAND! acoustic guitar, his voice ringing out, “I taught four - Steve L. True and twenty blackbirds/to weave a crown of sonnets for your hair/And I fed them all my kind words/So To James E. Crummy, they might sing you love songs while I’m not there.” Here is a few suggestions for your list. Kerosene Dream, Again, noteworthy vocal harmonies unite for an im- Renegade Saints, The Strangers, Nine Days Wonder, Higher pressive chorus, the construction of which John Ground, Jolly Mon, Sprinkler, Crackerbash. And what about Henry seems to have mastered. He consistently dem- Collin Raye? onstrates a knack for solid turns and tuneful choruses. Burnside Records Great to see someone is getting hot about your letters Sideburn Records section. I find it rather amusing. Oh yeah, and what’s up The simple, straightforward, simply pretty “Your Belated Birthday Present,” Bourke combines the best 3158 E. Burnside - with S.P. being in one of the best bands in town? Could he please stop playing in a good band so his reviews will be traits of quality songwriters such as Danny O’Keefe, Portland, OR 97214 more legit. Oh yeah they weren’t complaining about his re- Kenny Loggins and Paul Simon, in expressing a com- Phone:(503)231-0876, view. I am so confused. plex ambivalence regarding a once and ongoing rela- Fax: (503)231- 0420 Thanks tionship. Leeds’ Garfunkelish vocal harmonies add e-mail: Dan at Locals Only just the right touch. A piquant little gem. [email protected] LL Continued on page 20 Page 18 - TWO LOUIES, February 1999 SATYRICONSATYRICON 125 NW 6th. 243-2380 Mon 8 - YOU DESTROY THU 18- OUR WAY OF LIFE, BOMFI BELVED- LAXADAZY, FININ ERE, 800 OCTANE, HADEN STITCH LIQUOR Tue 9- FRI 19- WEDNESDAY 10:30-MID. ENEMY MINE, ADD-X, 92.7 FM Columbia Gorge HEAVY JOHNSON ROLLERBALL, FEBRUARY 100.7 FM Corvallis/Albany TRIO, KUNG FU’S CREEPY OLD TRUCKS, WED 10- WARTIME artist/label/title RASPUTINA CHOCOLATE LAST MONTH THIS MONTH Sat-13- SAT 20- 4 1 THE COUNTRYPOLITANS Ultrapolitan CD ...... Countrypolitans GIRL TROUBLE, TAV FALCO & THE 5 2 TRA LA LA Demo CD ...... CMJ Promo Demo CAVEMANNISH PANTHER BURNS, BOYS, DJ GRE- THE FLAPJACKS, 1 2 WOW AND FLUTTER Amplified CD ...... Guilty Pleasures GARIOUS LUCKY 13’s 5 3 THE FLATIRONS Checkered Past CD ...... Prayer Bones Mon 15- MON 22 - Demo CD ...... CONTEMPT, DE LA THE FOUNDRY, 6 4 BASEBOARD HEATERS The Baseboard Heaters GATA, VALHERE LEFTOUT 10 4 PLAID PANTRY PROJECT Catnip CDHit Songs From Plaid Pantry Project LAMONT, THE TUE 16- TEETH 10 5 JERRY JOSEPH & JACKMORMANS Holladay CD . Salt Lake City MALEVOLENT CREATION, WED 24 • 6 ELEPHANT FACTORY Tape On Records CD ...... Suspended Over Seas JUNGLE ROT, 764-HERO, RED 7 6 NICOLE CAMPBELL Wrought Iron CD ...... Little Voice ENGORGED, STARS THEORY, DESMODUS MANCHILD 4 7 7 WARREN PASH Cravedog CD ...... Parts Unknown WED 17- SATURDAY 27th 8 7 KIM KOEHLER Tim Kerr CA ...... Sherried Rye QUEENS OF THE FEDERALES 11 8 JUNK TRAIN Flying Rhino CD ...... Save Buck STONE AGE 9 9 WALLY DYNAMITE Stereochronic Tape ...... Short Fuse • 10 HERMAN JOLLY HJ CD ...... Mad Cowboy Disease 12 11 SYCOPHANTSycophant CD ...... Everything 4811 SE Hawthorne 238-1646 • 11 DAS GRAVY BOAT Gravy Navy CD ...... Fist Full of Gravy • 12 AMERICAN GIRLS Space Age/ Elemental CD .... In The Whiskey YaYa’s FEBRUARY • 13 ROTATING LESLIES U-LBL-IT CD ...... Equipoise Friday 5th Instagators, the Obadias, dj uni-i, Steve Smith. Saturday 6th top tracks Atom Sane DR 2000, Elevated Nature, the Hive 51 THE COUNTRYPOLITANS Ultrapolitan CD ...... That Train Friday 12th 1 2 WOW AND FLUTTER Amplified CD ...... Astronaut Other Avenues, Petal, Chunk, • 3 TRA LA LA Demo CD ...... Take It Outside See Jane Run Saturday 13th Checkered Past CD ...... Nothing • 4 THE FLATIRONS Smooch Knob 2yr Aniv. • 5 BASEBOARD HEATERS Demo CD ...... Road Huffy, Conduit, Here Comes Everybody Friday 19th Crazy Like Me, Love Load, Tin Horn, Tripple Swift live offerings at the church Saturday 20th 28 If, with Guest Friday 26th February 3rd ------Wow and Flutter - Live! The Sauce Unlimited, February 10th ------Little Sue - Live! Stranger Neighbor February 17th ------Baseboard Heaters - Live! Saturday 27th Blue Honey February 24th ------Nicole Campbell - Live! Baseboard Heaters Mullaney & Lipkind

TWO LOUIES, February 1999 - Page 19 ranging from original compositions in a multitude smoldering version of “The Good, The Bad And The of forms, to Smith’s splendid arrangement of pieces Ugly.” Chasman’s beautiful slurred harmonic in the such as Debussy’s “Clair De Lune” and his flawless intro (just try that one out!) sequence adds to the rendition of John Philip Sousa’s “Stars And Stripes delicate majesty of the former, Hanson adds slide Forever,” to Robb’s strength: Acoustic Blues transcrip- mandolin (he and Dan Haley, from Jon Henry’s Continued from page 10 tions. It is no coincidence that each member of the project must hang out in similar circles) in response AGS is a technician and teacher in his particular gui- to Smith’s lead line on the latter. John Henry Bourke distinguishes himself as a tar realm. Any student of the instrument would find Smith is nicely supported by Hanson on his tune talented songwriter and a satisfying purveyor of his material. His smart arrangements and assured productions cast each song in the best light. This is very “The concept of a guitar quartet, is a tradition nice stuff. in Flamenco music that is seldom elsewhere Acoustic Guitar Summit— Acoustic Guitar Summit Accent On Music explored (outside of the occasional Jazz foray), The concept of a guitar quartet, is a tradition in Flamenco music that is seldom elsewhere explored and for very good reason. It is not at all difficult (outside of the occasional Jazz foray), and for very to imagine the wanking ego catastrophes that good reason. It is not at all difficult to imagine the wanking ego catastrophes that could possibly ensue, could possibly ensue, four riff mad six-string four riff mad six-string slingers dueling for the spotlight, lightning riffs falling off the fingerboard at a slingers dueling for the spotlight, lightning riffs furious pace. But in the eight hands of true guitar falling off the fingerboard at a furious pace.” masters, such as Terry Robb, Doug Smith, Mark Hanson and Paul Chasman, the concept receives re- newed vitality. Through inordinately unselfish play- much to learn from this wonderful project. “Sunday Sonata,” which combines essences of Folk, ing, they investigate style as varied as the backgrounds The group begins with a four-way split on the Jazz and Classical into a pleasant potpourri. Chasman each of them brings to the picnic. The fact of the standard “Bye Bye Blues,” taking up with the song and Robb nail John D. Loudermilk’s “Windy And matter is that the four of them rarely play on the same where Les Paul left off with it in the early ’50s. Each Warm,” suffusing it with a rich folk and delta blues cut, but rather split up into solo and duo configura- of the guys takes a solo turn, with precise, pristine flavor not explored as fully on other versions. Smith tions in a successful attempt at showcasing the highly runs abounding; still allowing for the various subtle- and Chasman team up on “Clair De Lune,” seemingly diverse talents of each member. ties of individual technique. Smith leads the band each playing either the left or right hand parts of the The selection of material is equally manifold, through a medley of the ‘50s chestnut “Apache” and a piano composition— something very difficult for two

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Page 20 - TWO LOUIES, February 1999 people to do precisely, with any synchronicity. This is hewn Western approach. They kind of sound like John vored riff. This almost works too. a lovely excursion into color and tone. Doe and Exene fronting Lone Justice. Not a bad thing, “Brother” holds together fairly on an instrumen- Hanson’s “Sweet Rotunda” mirrors “Sunday not at all. Authentic. And real. But different. tal plane, but the Kinkaid’s vocals fall short in spots. Sonata” in many ways, while Robb’s solo efforts on With Josh Kirby manning the bass and Dave “Kristen” is a way too predictable on a structural level. “Gramma Jean” and “Cascade Lightning” allow him LyBarger on drums, the Starlings are a tad on the “Tim’s Song” is a little better, but suffers from some to demonstrate his chops as a fingerpicker. “Steel sloppy side, a beat is dropped here, a chord muffed of the same maladies. Guitar Rag” affords Robb the opportunity to trot out there. And some of the songs could use a little more “Hallelujah” is more of a send up, but there’s no doubt his best lap steel licks. Hanson’s solo expedition, development. But others, such as “Sinner Man,” which where it’s going. “Drake’s Passage,” is a very pretty little ditty, a haunt- ing modal sketch. Chasman’s solo ode to his grand- “The Starlings are fronted by vocalist Ms. KT son “Grandpa’s Boy, “ fuses Jazz and Blues idioms with a sterling technique, creating a happy, sunny mood. Kincaid with able assistance from guitarist Mr. Joe The boys unite again for a couple of rounds of rousing solos on the Beatles’ “Lady Madonna,” finding a Baker. These names seem vaguely familiar, like lot of room to move within the tight strictures of the from the early ’80s scene or something: like the Neo chord progression. The Acoustic Guitar Summit is an entirely en- Boys or Sado Nation, or in that circle of bands.” joyable and instructional undertaking, that offers rich rewards at every turn. The amassed years of knowl- takes its cue from “Ghost Riders In The Sky” (with The Starlings have positive aspects. Baker’s gui- edge this quartet shares must be far in excess of a cen- the solo taken from the Seeds’ “Pushin’ Too Hard”). tar parts are usually inventive and engaging, if not tury. The tributarial influences that are assimilated As Kinkaid wails a plaintive plaint, Baker tosses in always entirely on the money. Kinkaid has her mo- into this recording are practically incalcuable; but this some fine guitar licks. “NE Morris” is an eerie Span- ments, but her pitch has a tendency to wander. The group delineates each style with extraordinary poise ish flavored number with cool guitar parts. Very early rhythm section could use some tightening. The songs and assurance. ‘60s Surf. need work on a melodic level. Also the occasional The Starlings— The Starlings Along similar lines is “Dear Daughters” with it’s “surprise” chord change here and there would be help- Self-Produced Gypsy Flamenco feel. Kinkaid’s voice recalls Joan Baez’ ful. The Starlings are fronted by vocalist Ms. KT early days. A good song. “Right On” takes a swamp But there are things to like about the band. If Kincaid with able assistance from guitarist Mr. Joe song and puts a Surf beat behind for interesting re- they were willing to commit themselves to some in- Baker. These names seem vaguely familiar, like from sults. “You Say” doesn’t quite hit the slapback Coun- tensive rehearsal, to get their chops down, and to re- the early ’80s scene or something: like the Neo Boys try mark at which they aim, but it’s an interesting fine their songs to sound more original and less fa- or Sado Nation, or in that circle of bands. And they experiment. “Sentimental Girl” throws Kinkaid’s miliar— they could become a good little band. sound as if they come from that era with their rough Country-driven acoustic guitar over Baker’s Soul-fla- LL MUSICIANS: WE’RE LOOKING FOR A FEW THOUSAND MUSICIANS WHO BELIEVE THAT THERE SHOULD BE RESPECT AND DIGNITY ATTACHED TO WHAT WE HAVE CHOSEN TO DO WITH OUR LIVES, AND WHAT’S THAT? GIVING SOCIETY JOY, HAPPINESS AND GREAT TUNES TO LISTEN TO ON THE WAY HOME FROM WORK!

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TWO LOUIES, February 1999 - Page 23