OREGON MUSIC / JUNE 2002

photo Pat Snyder

PRODUCTION/VENUE GUIDE TWO LOUIES, June 2002 - Page 3 photo David Wilds

ecember of 1984. Doug Fraser of Records. Fraser got his first taste of the big time the family to Valdosta, Georgia and has just now Johnny & The Distractions. Five years with Gary Ogan in 1977 when Leon Russell flew returned. His first project since moving home is Dlater Doug would join Quarterflash Ogan and the band to Los Angeles to record for former Quarterflash band-mate, Sandin Wilson’s to record the “Girl In The Wind” album for Epic Russell’s new Paradise label. In 1988 Doug moved solo album, due out this summer. LL Any information you might have or anyone we could contact would be greatly appreciated. email any info to: larsoj@email. msn.com Thank you Jerry Larson

DOUBLE TROUBLE Dear Two Louies, BALLOONS UP You brought me back with Dear Two Louies, that Stevie Ray Vaughan picture My name is Jerry Larson, I was in a band called from the Big Yard at the Oregon The Balloons in the early eighties. We were one of State Penitentiary. (Rewind-May). many band invited to play at a Crystal Ballroom I was one of those lucky inmates benefit concert, in an effort to try to restore the who got to see Stevie Ray and the dance hall. A camera was set up to film all the bands band tear it up live. It was a beauti- if I remember correctly. ful day and the band played their It was suggested that you might remember full set and then some. For a few who has these movies or who organized the show. hours Stevie Ray took everybody TL editor escorts Stevie Ray to prison. photo David Wilds We also recorded several tunes with Jack Barr (sp?) in the joint somewhere else. I was one of the graduates of which yielded several audio tapes. He asked if he owns a motel in Arizona. The other guy, who did the Roadie School. Jimmy Bernhard, the president could borrow those tapes for a project of his and all the OSP press, and doesn’t want me to mention then sadly he died. I would like to try to locate those of the State Street Jaycees, who put it all together, tapes but don’t know who to contact. was released shortly after, got married and now Continued on page 23

TWO LOUIES, June 2002 - Page 3 Page 4 - TWO LOUIES, June 2002 TWO LOUIES, June 2002 - Page 5 LICENSING MUSIC FOR FILMS, TV, COM- label approvals (as can be seen, for example, in two, and so in most instances the producer won’t MERCIALS AND COMPUTER GAMES some recent commercials using Beatles songs), and consider it all that important to obtain a long term sometimes it’s because the already existing recorded license. henever a producer of a fi lm, televi- version does not stylistically fi t the project for one sion show, commercial, or computer reason or another. The Territory Wgame wants to use music in a proj- In this situation – i.e., when a producer is 1. Theatrical Films: Typically the territory is ect, there are two different kinds of licenses which normally come into play: (1) a “Synchronization License” and (2) a “Master Use License.” The Synchronization License. The producer of a fi lm, television show, commercial, or computer game must always obtain the written permission of the owner of the underlying song, which as a general rule is the songwriter or the songwriter’s own music publishing company, assuming that the songwriter does not have a publishing deal with an outside music publisher. However, if there is a publishing having a new version recorded as a “work for hire” “worldwide.” deal in place covering the song at issue, then the -- the producer does not need to obtain a master 2. Television: It used to be that the territory owner of the song is normally the music publisher. use license, since the producer is not going to be was usually limited to certain countries. Today, most This permission which must be obtained for using a master recording owned by someone else. often, “worldwide.” the underlying song is called a “synchronization But, even then, the producer still needs to obtain a 3. Commercials: Local, regional, national, license.” Here we are not talking about a particular synchronization license from the music publisher of certain countries, or worldwide, i.e., depending on recorded version of a song, but instead, only the the underlying song. what the parties negotiate. underlying song itself. 4. Computer Games: Worldwide. The terminology here can get confusing. But, COMMON “SYNCHRONIZATION to make it simpler, let’s take a situation in which a LICENSING” ISSUES It’s important to mention here, though, that song has been written by a songwriter named Joe even though a license may say that it’s a worldwide A, and the music publisher for the song is B Music There are many issues which may arise when- license, a producer has to be very careful here, espe- Company. Let’s also say that three different bands ever a synchronization license is being negotiated cially if it is a large company doing business in other have each recorded their own separate versions of between a producer of a fi lm, television show, com- countries. This is because of the fact that in many the song, and let’s call those bands X, Y, and Z. In mercial, or computer game, and the publisher which foreign countries, licenses issued directly by publish- this situation, the synchronization license is obtained owns the underlying composition. ers are not valid for those countries. Instead, a pro- from the B Music Company, regardless of which Some of the main issues are: (1) The length of ducer seeking to clear the rights for those countries recorded version (i.e., X, Y or Z’s) will be used. “the term” of the license (i.e., how long the license must obtain a license from a rights organization or As for the permission which needs to be will be remain in effect for); (2) The scope of the governmental agency in each of those countries, even obtained for the specifi c recorded version which the territory (i.e., the geographical area in which the pro- if the producer has already obtained a purportedly producer of a fi lm, television show, commercial, or ducer can use the song in his or her production); and “worldwide” license from the U.S. publisher. computer game wants to use, that’s called a “master (3) Whether the producer will have exclusive rights use license.” to use the song, or instead, whether the publisher Exclusivity Versus Non-Exclusivity The Master Use License. A master use license can give other producers the right to use the same 1. For theatrical fi lms and television shows: needs to be obtained by the producer for whichever song at the same time. Synchronization licenses are almost always non- recorded version is going to be used. So, if the exclusive in regards to fi lms and television shows. producer of a fi lm, television show, commercial, The Term If there is exclusivity, the producer will usually be or computer game wants to use Band A’s version, 1. Theatrical Films: The term is generally paying dearly for it. Assuming there is no exclusivity, for the “life of the copyright” (in other words, the the owner of the song can license it to as many other companies as it likes. 2. For commercials: There may be exclusivity for a limited period of time. When there is exclusiv- ity, it is most often limited exclusivity, limited either to the territory of the license and/or to particular products or industries. 3. For computer games: Usually non-exclusive, except that fairly often the license agreement will prohibit the publisher from licensing the music to be used in other computer games for however long the license agreement will be in effect.

then the producer must obtain a master use license license will last as long as the song is protected by The Amount of the Synchronization License Fee from the band (if the band is unsigned), or, if the copyright law, which, as a general rule of thumb, is How big the synchronization fee will be in any band is signed, then from the band’s label. (Bear today 95 years). given situation will depend on many factors, such in mind, though, that even when a band is signed, 2. Television: Sometimes for 2, 3, 5, or 7 years, as the degree of public recognition of the particu- the band’s recording contract may very well contain or, currently much more common, for the “life of lar music involved (for example, whether it was a provisions requiring the label to obtain the band’s copyright.” (There’s been a rapid trend toward “life hit song in the past, and if so, how recently), the approval before allowing the band’s music to be used of copyright” in recent years.) nature of usage (e.g., in a fi lm versus a television in a fi lm, television show, commercial, or computer 3. Commercials: Typically an initial term of show versus a commercial, etc.), and the term of game .) anywhere from 13 weeks to one year, often with the license. Depending on the nature of the pro- The comments above, concerning the pro- the producer’s right to renew for another equal duction (fi lm versus television, etc), there will be ducer’s obligation to obtain a master use license, term upon payment of an additional licensing fee other considerations as well. For example, in the assume that the producer wants to use an already (which might, for example, be 125% or more of the case of a fi lm, there are such considerations as how existing recorded version of a song. However, there original fee). many times the song will be used in the fi lm (and are situations in which the producer may want to 4. Computer Games: The term is generally for for how long each time), and whether the music will have a new recording made, i.e., as a newly-recorded the “life of the copyright,” or for a 2,3, or 5 year term. be used in the foreground (versus the background), “work for hire.” Sometimes, this happens because the As a practical matter, there are very few computer or in trailers. producer cannot obtain the necessary band and/or games which will have a life span of over a year or Continued on page 21

Page 4 - TWO LOUIES, June 2002 TWO LOUIES, June 2002 - Page 5 The Truth In A Beautiful Lie- The Bella Fayes Self-Produced t’s no secret among local bands that the current Portland live Imusic scene is at an historical nadir. For proof, one need look no farther than the Boregonian’s weekly Local Top 10 records in their Friday A&E section. What once was a bastion for the likes of Calobo, Heatmiser, Elliott Smith, Rubberneck and countless other top-tier local bands, is now populated by out-of-town entities such as the Melvins or Death Cab For Cutie. Local band Pink Martini routinely makes that Top Ten list with Sympathique, a recording that is over four years old! Nothing against Pink Martini, but one would hope that the public could find some other local product to get excited about, other than a four year old record. The reasons for this deplorable state of affairs are manifold: an apathetic public, the rise of the DJ in the local club scene and the fact that no band seems able to muster much of a local following. Perhaps the fact that musicians make no more money for a gig today than they did twenty-five years ago might have something to do with it. Maybe other occupations look more lucra- tive to today’s potential musicians: such as a job at McDonald’s, or busking: there’s lot’s of money in busking. Whatever the case, the local live music scene seems, sadly, very near-death. Continued on page 9

Page 6 - TWO LOUIES, June 2002 TWO LOUIES, June 2002 - Page 7 hat a month of music! Dave Mat- yelling, “Please don’t do this buddy!” Walt kept came racing around the corner in her Mercedes thew’s Band was brilliant. I saw the yelling, “Stop! Thief!” My car had been broken with a cell phone to her ear. She pulled up and Wlast tour, and the band seems even into in Forest Park a while back, and I just thought handed me the phone saying, “It’s 911!” I started better this time around. The security was tighter, to myself that this could not be happening again. to speak to 911, but just then, the guy who stole but seeing him again was sweet. The opening band, Anyway, we chased him about two blocks and he my purse leaps out of a dumpster across the street Soulive was a hot jazz band from New York City. managed to get out of our view. Walt and I dashed and takes off running. I yell after him, “Where’s Dave introduced them and sang this incredibly around a corner and the thief and my purse?” He replied, “What purse?” He kept on beautiful song with the my purse were gone. I raced to running, and Walt ran after him. I yelled at Walt band. Then Soulive sat in the end of the block where two to catch him as the 911 operator calmly said in my for the last song with guys were smoking a cigarette. I asked ear, “Ma’am? Ma’am, I cannot help you if you don’t Dave, which was if some guy had just come running by. They stop yelling.” I could not stop yelling, so I handed a cover of the phone back to Siri and raced over to the dump- ster. There was my purse with all my belongings strewn across the asphalt. I squeezed in-between the wall and the dumpster and retrieved most, if not all of my belongings. By then, a small militia had congregated, and Siri and I told the story for the fi rst time that night. Soon after, we found out that the police nabbed the guy near Powell’s books. Bob Dylan’s All said “No.” I knew he must be in close proximity. I Walt Curtis, who managed to be there when the Along the Watchtower. began to walk down this alley toward a dumpster, police arrived, came back to the gallery and told I saw Beth Horton at the Show Box in Seat- when my friend Siri Krosen from me I should go up to Powell’s and identify the guy. tle. It was a hot, crowded, and smoky night. She Seattle, I did not want to get near him, but Walt said it was is very talented, but I enjoyed listening to her my duty as a citizen to identify the live on the radio more than in person. I heard thief. I hiked up there with Siri her live interview on a Seattle station on my and met up with the cops and the way up, and on my way down, I heard her on guy who robbed me. I felt sorry Kink’s lounge. She told the story about giving for him at this point, but I did Emmy Lou Harris a necklace, and how she fi nger him and told the police I met Billy Orbit at a party. She shared many was sure it was the guy who took other tid-bits about her life that made me my purse. Siri and I went back to appreciate her all the more. the gallery where there was already It was a great opening bash for painters, a debate starting on weather or not I Lauren Mantecon and Joe Thurston at Mark should press charges. It was the “hot Woolley Gallery. The art was great, the topic” for the rest of the evening, as party afterwards at Café Azul, and drinks well as the telling of the actual rob- at Saucebox were also quite fun. During the bery. I was completely torn myself. I festivities, I was downstairs where people did get my purse back, but what if the smoke cigarettes and sit on a small wall next time he robbed someone it was on the street. I was with Walt Curtis, Eva someone who could not catch him? I Lake and a sales person from Nordstrom. told myself that if the guy did not have Anyway, this tall, black guy comes up to a record, I would not press charges. me and asks for a light. I told him I did Well, he does have a record and I did not have one and he proceeded to grab testify against him at the Grand Jury. my purse. I grabbed it back. Then he In retrospect, I still feel bad for the pulled it very hard from me and all I thief. I realize that this big guy is run- had left was one strap as he barreled ning around robbing people, and what off down the street. I immediately got we need in this world is people helping up and ran after him. Walt Curtis took each other not robbing each other. What up the rear. I started yelling very loud is the moral of the story? You tell me. and so did Walt. I was in heels and wondering how I heard that Art Alexakis was play- long I could actually chase this guy. I continued i n g Billy Rancher & The Unreal Gods on a radioradio show,show, andand nownow thethe kidskids areare outout buyingbuying BoomBoom “Courtney Taylor apparently ChuckChuck rock.rock. Also,Also, duedue toto DavidDavid Bowie’sBowie’s friendshipfriendship withwith CCourtneyourtney TTayloraylor frfromom the DandDandy’s,y’s, thetherere is a played some James Angel from newnew eyeeye and ear onon our locallocal musicmusic scene.scene. Court-Court- neyney apparentlyapparently playedplayed somesome JamesJames AngelAngel fromfrom Nero’s Rome for Bowie, and now Nero’sNero’s RRomeome forfor BBowie,owie, andand nownow AngelAngel maymay bebe signedsigned cause BBowieowie liklikeses wwhathat he hearheard.d. Angel may be signed cause Please write to me: [email protected]

Bowie likes what he heard.” LL Page 6 - TWO LOUIES, June 2002 TWO LOUIES, June 2002 - Page 7 Land of the Blind- Ordinary Magic track 9, warps time and space placing on stage an in your heart wasn’t enough to lock you in to the CD-Omanion unlikely union of musicians; “Hot Club” Jazz guitar- show…no worries. Carter Hill on a stand-up electric ssembled from the wind and woven ist of the 30’s, Django Reinhardt, morphed together “Oregon” bass, syncing up with lead guitarist Jeffree with nature’s gossamer strands, the with 60’s classic rocker Pete Townsend. This makes White, played fabulous double solos. Hill’s fretting Apowerful and passionate voice of lead for a heck of an interesting guitar song and is a bit hand was all over the neck with a speed seemingly singer Cyoakha Grace guides a passage into ecstasy of a microcosm for the rest of this diverse CD. impossible on an instrument of this magnitude for the listeners of West Coast band Land of the On Listening Hands, Martin Posen travels and bulk. A rather sizeable amp producing gobs of Blind. On Ordinary Magic, the beautiful phrases to beautiful acoustic spaces exploring the world, delicate decibels helped bring Hill and his playing and chants of this alluring voice are an ethereal, people and situations with the touch of his hands close to a musical bystander. tribal apparition traveling on a breeze looking and an acoustic guitar. He hears and sees the world The aforementioned lead guitarist and vocalist for a soul to stir. In one moment with a vigorous through his instrument and through it, we under- Jeffree White, along with electric, midi and acous- gutsy blow, she is a wailing medicine woman doing stand his vision. tic guitarist and vocalist Eric Bohne, repeated the her magic. In another moment, she sings with the double-up theme with relaxed unison vocals jux- gentle ease of a sunrise. This voice is an instrument Phamous Phaces- New Pop City taposed against high kilowatt tunes with double of nearly indescribable beauty. CD- Bink guitars. It was like a cycle of musical energy rotating If Cyoakha’s mesmerizing voice leaves you As contagious as a kindergarten cold, and as around the stage in two’s for 45 minutes. searching for words to describe it….what of the surprising as a sliver of light on the western hori- unlikely assemblage of instruments played by the zon after a new moon, the “dressed in black” pop Jeff Trott- The Ohm band? Dumbek, bongos, penny whistle, congas, outlaws Phamous Phaces have returned from their Any show that begins with five minutes of siz- flute, didgeridoo, viola, violin, translucent key- 2001 European tour with a new CD release and a ably loud rhythmic droning is bound to stand out boards, dulcimer, car keys, sitar, “bee horn” and even rejuvenated spirit. Tours don’t usually have that or at least get an audience’s attention. This is exactly an innocent cookie tin are all present. Melodic, ever effect, instead they have a way of inducing a required how Jeff Trott and his band kicked off the night at present bass lines and drum rhythms carve out a season of rest. However, there are 13 fresh tracks on Portland’s club Ohm. With his electronics side-man deep groove that anchors this music to planet New Pop City that sound far from tired. Keith Schreiner, opening as a didgeridoo soloist for Earth while Cyoakha’s voice launches it back to The Phamous Phaces brand of pop-rock is true one song, he left the crowd in a stunned disbelief atmospheric surrealism. to form and function with three and a half minute which later erupted into a roar of applause. Though joined by guest musicians, Cyoakha, hook-baring songs containing a bit of Beatles influ- Stepping on to the stage with a humble acoustic Regina LaRocca, Krystov, Equinox, and Melo Cady ence as in Track 1, “Denmark.” This song with its guitar takes some confidence after such an unusual compose the main “Blind” tribe. Each is a musician richly trickling instrumental hook, echoing tremolo performance, but Trott’s show was packed with of splendor. If track one “Tribe” is an otherworldly guitar, and three part vocal harmonies is one for the strong arrangements, powerful solos and wonder- cry from the night with dark bass lines and pulsing memory banks ….as in, just try to forget ful songs. The first song, a shivery rock extravaganza drums laying out the groundwork for an explosion it (not that you would want to); while “The Few That Remain,” was like a star going nova; of instruments, perhaps this song is also a reminder track 2, “Standing on Stage” is reminis- beginning quietly with haunting lyrics and phrases to the band to always remain connected… “we’ve cent of the more recent, intoxicatingly dark then exploding into texures of instrumental got to be a tribe…as we were in the beginning… sounds of English pop artist Michael Penn. energy. Nearly every song exhibited that same when we were still alive.” Unexpectedly, track five With a contemporary almost folk-rock feel, rising and expanding of sound layers. “Mother” based on a traditional Celtic folksong, along comes track 9 “Allie” a gentle Trott blew his voice out early in the eve- flows along like a gentle stream and takes you back song written about one of the band ning due to a cold but he kept on going and saw the a bit to songs like Traffic’s “John Barleycorn.” member’s new baby. The last song on night through and was later joined by guest vocalist Ordinary Magic is a dreamy and droning, the CD “Where’s the Words?” displays the Jen Folker. The rest of Trott’s tight band includes dancing and wailing, haunting and rhythmic Phamous Phaces ability to leave a song in your James Beaton on B-3 organ and Piano, Nate Query enchantment. Land of the Blind transports you into head. This instrumental, written in structure on Bass and Jeff Anthony on drums. its world of tribal, Celtic, psychedelic, alt music with like a song that was supposed to have words, Jeff Trott, who is probably better known as the spinning of an extraordinary iridescent disc. Isn’t could easily turn listener into lyricist. Sheryl Crow’s guitarist, co-writer and co-producer, that what it’s all about anyway? With another European tour slated for has kept very busy with working on Crow’s music June and the recharging effect it seems to have for the last several years. He has co-written Martin Posen- Listening Hands on the band, Phamous Phaces could return many of her radio hits including “Favorite CD- Bare Bones with yet another high-powered pop-rock Mistake,” “If It Makes You Happy” and artin Posen’s music is lusciously collection….not to put pressure on them. others including her new release “Soaking adorned with rich steel string Hopefully their batteries won’t melt. Up the Sun” which he recorded in his Macoustic guitar compositions very living room. Recently, Trott released much in line with the music of Michael Hedges or Spring Time Live his debut CD, “Dig up the Astro- Alex DeGrassi. Listening Hands alternates its energy turf,” in surround sound which is from track to track going between fluidly, ethereal Diggabone- Mt Tabor Theater supposedly the next big change finger picking as in cut 2, “South of Portage Lake The Mt. Tabor Theater hosted a splen- for the industry. Since its release Road” and the more powerfully, concrete strum- didly raucous evening marked by the jazz Trott has been playing shows ming and lead playing of track 1, “Sans Souci”. Each infused, funk, rock sizzlings of Portland band along the west coast to launch song takes a journey with explorations into melodic Diggabone opening the “Big Room” and fill- out on his solo career and storylines told only through the grace and finesse of ing it with fabulous arrangements and tightly try the lead spot on for size. this gifted musician’s hands and mind. executed playing. It was both mesmerizing Based on the performance at Minus bass, drums, keyboards, percussion and and entertaining. Jeff Miller and Franklin the Ohm, it seems to fit. other electric instruments, this music is bare bones Galwas, a dynamic duo of percussionists on in a production of simplicity, yet each measure frame drums and congas respectively, deliv- Jeff Trott; better known for emotes passion bringing to light the meaning of ered tasty sub-arrangements of double drum Sheryl Crow. each sonic passage. Standing on the tundra of the solos with funk/Latin rhythmic flare. If the Alaskan wilderness, track 11 “Howl,” waits for wolves power of these two instruments pounding to provide an evening chorus. “Django Townsend,” LL Page 8 - TWO LOUIES, June 2002 TWO LOUIES, June 2002 - Page 9 mutters the lyric, with a vaguely Bri’ish, cockney ineffable organ accents add nice punctuation. The sneer, reminiscent of Billie Joe Armstrong of Green ballad “In The Transistor’s Glow” maintains a cer- Day. “May think the past is behind you/’til some- tain country twang, with acoustic and slide guitars day it fi nds you/Though all of your bridges have adding to the effect. burned/And the bed that you made/With the plans There is not a bad song among the eleven Continued from page 6 that you laid/Show just how little you’ve earned.” presented here. And there are several that stand The aforementioned Dell-distributed “Trying out as truly memorable. Lael Alderman and the One band that is going against that trend are To Find A Way,” is a confectionery slice of rock Bella Fayes would seem to be a band with a bright the Bella Fayes. Leader Lael Alderman made news ‘n’ roll worthy of the sons of Cheap Trick. Echo- future, although, as outlined in “Trying To Find A a few years back when he signed a developmental ing Klaatu’s “Calling Occupants...”, the song is Way” it would appear that they wish to dictate that contract with Geffen Records, which thus far, hasn’t an anthem to some sort of indistinct DIY army, future on their own terms. If any band can do it, yielded much. Two years ago Alderman formed fi ghting against the status quo and the powers these guys can. the Bella Fayes, releasing a very successful EP, So that be. “Calling all of those/The truth won’t hurt Much More Than ‘Hello,’ a little over a year ago. Happy You Near— Noise For Pretend Hush Records e fi rst met the young trio Noise For Pretend last November, with their Wsplit EP with Blanket Music. Two of the songs, “Money Penny” and “Pants With His Halfway Down,” among the four presented on that EP, are reprised here. In addition there are nine new songs. And, as before, the focus of the presentation is the captivating voice of Esperanza Spalding. Still a teenager, Esperanza has the voice and vocal phras- ing of a woman two or three times her age. Local press, radio and even TV have featured the the one who knows/Trying to fi nd a way.../Calling Accompanied by drummer Christian band over the past couple of years. Their renown all radio/We’ve changed our minds and we’ll go it Cochran and guitarist Ben Workman (who sings for playing tight, Beatlesesque power pop spread alone/Trying to fi nd a way.” And there you have it. three of the eleven songs), Esperanza caresses each quickly. By last October their song “White Noise” If that doesn’t demonstrate some software, then tune with a voice as sonorous and dusky as a tenor was one of a dozen songs selected for a nationally who knows what will? sax. Compared to Bebel Gilberto, Esperanza also distributed ASCAP compilation entitled EAR. Beatles infl uences abound in “Poolside,” a recalls Astrud Gilberto, Julie London and Sarah As mentioned in last month’s As The World slower number, which features occasional three- Vaughan, imparting each song with a smoldering, Turntables, the band recently signed a lucrative part vocal harmonies. But, especially when mea- detached quality that positively steams up the pits contract with Dell allowing the computer manu- sured against the fi rst four songs on the album, it on the compact disc. facturer to include the Bella Fayes tune “Trying fails to make as big an impact. More or less the title Beyond that, Esperanza is an accomplished To Find A Way,” from the band’s new album, as a track, “New Shame” contains the thought provok- double-bassist, coaxing a variety of nuances from demo, promoting the company’s music software. ing line: “ The truth is a beautiful lie/The empty the cumbersome instrument. Together, the mem- Suh- weet! Dude, y’ur gettin’ a Dell... with the Bella answer to the question why.” Well, here here. But bers of the band create a trendy, space-age bachelor Fayes on it! be that as it may, the song faintly recalls Matthew pad sort of sound that is equal parts Brazilian bossa This eleven-song outing furthers the band’s Sweet or Third Eye Blind with a hint of Mother nova, cool jazz, blues and even a pop sensibility status. The songs are tightly knit, well-written, England thrown in. Not bad. heretofore unexplored. well-executed Pop gems, basically performed live A wonderful staggering waltz, “Channel- “The Song Formerly Known As Whatever We in the studio. Alderman has a knack for crafting ing” could pass for an early Gin Blossoms song, Used To Call It” is a ghostly jazz-infl ected number, memorable Pop hooks, especially on the more with supple harmonies over an impassioned with a slightly frenetic quality, generated primarily uptempo tunes. His vocal delivery is reminiscent performance. Henry’s guitar squawks and squeals by the bass. Esperanza’s soulful vocals exhibit a rap- of many ‘60s British invasion singers. The band, whom were never slouches have ratcheted up the musical presentations another notch, displaying keen musical maturity. The fi rst track, “Feel Like I Wanna Feel,” is a classic rocker that throws Alderman’s many skills into clear relief. His gritty vocal, distorted in the mix, scats a rap that calls to mind Dylan’s “Subter- ranean Homesick Blues,” in the verses, with a nod to Bowie’s “Suffragette City” in the chorus. Drummer Shane Fisher lays down a clean, hard-hitting beat, over which Davey Hall (formerly with Thrillbilly) contributes a punchy bassline. Meanwhile, Jason pinion powerful power-chords through an intricate idly growing assurance and maturity (the fi rst three Henry adds jagged lead guitar across Lael’s craggy march. Great. songs were recorded only just last February) over rhythm guitar. Henry cuts loose with a fi ery, ‘60s An interesting and brief song, “Shortcut” material recorded last year. However, the ingenuous garage-infl uenced solo, to cap off a great opening moves in an unorthodox round that nicely captures siren-call of her voice remains distinctly intact. tune. its self-enclosed subject matter. Another balls-out Likewise, the swinging, 12/8 scheme of “Due “Wake It Up” is a simple song, nicely punc- rocker, “Come” swaggers and blusters, while sound- To Lamplooking” allows the group to explore a tuated by Fisher’s tom-driven beat, coupled with ing at times like later-period U2, before breaking lively setting, with Esperanza evoking Dinah Shore Hall’s eighth-note basslines in the verses. Henry into a transient ‘60s Who-like section, where Henry and Doris Day with stylish aplomb. Sumptuous. adds a nifty, middle-Eastern fl avored guitar fi gure gives a short display of his keyboard prowess. But “Go Figure, Another Warm Day In Paradise” in the chorus, which lodges indelibly in the brain. As with “Tables Will Turn,” “The Girl Most is a complete departure for the band. Sounding A four-to-the fl oor rhythm drives the familiar Jel- Likely To” utilizes an aggressive march rhythm and Continued on page 17 lyfi sh-like melody of “Tables Will Turn.” Alderman a certain Jellyfi sh-ish musical sensibility. Henry’s Page 8 - TWO LOUIES, June 2002 TWO LOUIES, June 2002 - Page 9 Page 10 - TWO LOUIES, June 2002 TWO LOUIES, June 2002 - Page 11 Production distro, generators All Service Musical Electronics Repair Years Experience - 10 (Formerly KMA Electronics) Specialties - Rock, jazz, bluegrass, world, corporate. 617 S.E. Morrison Equipment - Yorkville TX, QSC Powerlight, Sound- Portland, OR 97214 craft, Allen Phone/Fax: (503) 231-6552 & Heath. Toll Free: 1-888-231-6552 Clients - Cinco de Mayo (Waterfront Park), Portland Contact: Randy Morgan Rose Festival, Email: http://www.teleport.com/~fixitman City of Lake Oswego, City of Vancouver, Portland Services: Quality electronic service for musicians, Trailblazers, Bonneville studios and music dealers. Factory authorized for Power Administration. most major brands. Hours: 9-6 Monday through Friday, Saturday 10-5 Thomas, Dwayne Years Experience: 27+, over 20,000 repairs (503) 281-0203, Msg.: (503) 784-0361 Specialties: electronic musical equipment from Fax: (503) 231-9679 vintage to state of the art. If you can plug it in and Services: Lighting make music with it, we probably repair it. Years Experience: 14 Clients: We have performed repairs for almost every Music Specialties: Rock, all others also. music store in Portland and Vancouver. We have done Specialties: Full-time professional lighting work for acts such as Cheap Trick, The Cars, The design—concerts, clubs, special events, touring, Moody Blues, 98 Degrees, Monica, Everclear and Intellibeam trained, substance free. many local artists. Clients: Quarterflash, Nu Shooz, Jon Koonce, Dub Squad, Tales Untold, Blubinos, The Killing Field, 503-287-7254 Aloha Sound Cool’r, Cal Scott, Caryl Mack, Roseland Theatre, 32 NW 3rd ave Pellegrin, Terry John Bunzow & Cowboy Angels. The Blackbird Portland, OR (503) 645-5422, (503) 330-3840 3728 NE Sandy 503-222-9066 Web Address: www.alohasound.com Venues Portland, OR Email: [email protected] Portland 503-282-9949 Conan’s Pub Services: Sound & Lighting 3862 SE Hawthorne Years Experience: 13 Aladdin Theater Billy Reed’s Portland, OR Music Specialties: Blues, jazz, bluegrass, country. 3017 S.E. Milwaukie Blvd. 2808 NE MLK Jr. Blvd 503-234-7474 Availability: Always. Portland, OR 97202 Portland, OR 97212 Specialties: Live demos on location, festivals, fairs, 503-233-1994 info line 503-493-8127 The Country Inn conventions. Format: All styles (no punk) Format: Jazz, Soul, Reggae, Blues, Latin 18786 S.W. Boones Ferry Road Equipment: JBL & Crown Booking: Mark Adler 503-234-9694 Booking: Fred Stevenson Tualatin, OR 97062 Clients: Curtis Salgado, Linda Hornbuckle, Paul De 503-234-9699 (fax) Capacity: 250 503-692-2765 Lay, Soul Vaccination Capacity: 588 Equipment: sound system 503-691-2675 (fax) Equipment: PA, lights Headliners: Ron Steen, Norman Sylvester, Can- Format: Blues I.H.S. Production Headliners: Warren Zevon, Ray Davies, Chic Corea, nonballs Booking: Sunny Gary Miles Keb Mo, Paula Cole Capacity: 150 (503) 731-0383 Bitter End Equipment: none 8063 SE 17th Avenue Arnada Cafe West Burnside Headliners: Paulette & Power, Cowboy Angels, Portland, OR 97202 1717 Broadway Portland, OR Steve Brodie Service: Promotion, Sound Recording, Video post Vancouver, WA 98665 503-517-0179 work. 360-750-9596 Crystal Ballroom Years Experience: 12 years. Format: rock, blues ,jazz, acoustic Blue Note Lounge 1332 W. Burnside Speciality: Servicing the Christian community. Booking: Miguel 360-750-0811 503 W Burnside Portland, OR Availability: Anytime. Capacity: 200 503-222-3334 Equipment: Full P.A., mic stands, monitors Dante’s Inferno Inner Sound Electronic Service Headliners: Blyss, Mel, Rustvein Beulahland 1 SW 3rd Ave 1416 SE Morrison 118 NE 28th Portland, OR Portland, Or 97214 Ash Street Saloon Portland, OR 503-226-6630 (503) 238-1955 225 S.W. Ash Street 503-235-2794 (877) 238-1955 Portland, OR 97205 Dublin Pub Fax: (503) 238-1787 503-226-0430 Brasserie Montmarte 6821 SW Beav. Hill. HWY Email: [email protected] 503-227-2403 (fax) 626 SW Park Portland, OR Website: www.inner-sound.com Format: Acoustic, Alt. Rock, Blues, Funk Portland, OR 503-297-2889 Contact: Jay Moskovitz, Mike Mahoney Booking: Ingrid 503-224-5552 Services: Service and repair of pro audio gear, guitar Capacity: 80 Fez Ballroom amps, studio equipment, “home audio gear.” Equipment: PA, mics, lights Buffalo Gap 316 SW 11th Ave Hours: Mon 9-1, Tue 9-7, Wed-Fri 9-5, sat 9-1 B-Complex 6835 S.W. Macadam Avenue Portland, OR Specialities: Regional service center for Denon, 320 SW 2nd Portland, OR 97201 503-226-4171 Korg, Marshall, Roland. Most brands of pro audio, Portland, OR 97204 503-244-7111 including Alesis, Fender, Mackie, Panasonic, Tascan, 503-235-4424 503-246-8848 (fax) Gemini Pub Yamaha. Format: Soft Jazz, Folk, Rock’n Roll 456 N. State Street Clients: Every music store in Oregon. Musicians from Bacchus Booking: Scott Lake Oswego, OR 97034 your local “basement” to the Rose Garden. 3200 SE 164th Avenue Capacity: 85 503-636 9445 Vancouver, WA 98683 Equipment: sound system 503-636-9445 (fax) Prescription Electronics 360-882-9672 Headliners: Craig Carothers, Jon Koonce, Reck- Format: Blues, Jazz P.O. Box 42233 Format: Fine dining and high entertainment less Kelly Booking: Randy Lilya 503-556-0405 Portland, OR 97242 Booking: Tom Anderson Capacity: 170 Capacity: 200 Cafe Lena Equipment: lights Ripplinger, Joseph Equipment: We got it all! Sound, lights and stage. 620 S.E. Hawthorne Blvd. Headliners: Robbie Laws, Curtis Salgado, Leon (503) 655-3869 Headliners: Victoria Corrigan with Donny Osbourne, Portland, OR 97214 Russell, Jim Mesi Services: Sound & lighting engineer, small PA and Inkspots, Patrick Lamb band, Andy Stokes. 503-238-7087 Light rental, Psychedelic Liquid Light Show Format: Open Mic, Folk Acoustic Green Room Years Experience: Pro since ‘81 Bar of the Gods Booking: LeAnn 2280 N.W. Thurman Street Music Specialties: Blues, rock, jazz, classical, 4801 SE Hawthorne Capacity: 50 Portland, OR 97210 Electric/Acoustic 503-232-2037 Equipment: none 503-228-6178 Availability: Yes! Headliners: Billy Kennedy, Lew Jones, Lorna Miller 503-228-5068 (fax) Specialties: Excellent live mix, stage management and Berbati’s Pan Format: Acoustic Folk, Rock, Bluegrass light direction. Production efficiency. 231 S.W. Ankeny Street Candlelight Cafe & Bar Booking: Declan O’Connor Clients: Candelight Room, Cascade Tavern, Terry Portland, OR 97213 2032 S.W. 5th Avenue Capacity: 100 Robb, Sundown Sound, Spectrum Sound, Razor- 503-248-4579 Portland, OR 97201 Equipment: PA, 8 ch. board, monitors, 1 mic backs, Terraplanes, Duffy Bishop, Lily Wilde, Paul 503-417-1107 (fax) 503-222-3378 Headliners: Buds of May, Sweet Juice, Little Sue, Jim De Lay, Soul Vaccination, Gemini Pub & Trails Format: Acoustic, Alternative, Funk, Jazz, Blues, Rock Format: Blues Boyer, Billy Kennedy End Tavern. Booking: Anthony: 721-0115 Booking: Joe Shore 246-4599 Capacity: 350 Capacity: 150 Jasmine Tree Stew Dodge Sound Equipment: PA, lights Equipment: none 401SW Harrison Office - 503-286-1085 / cell - 503-860-0145 Headliners: National, Regional and Local acts Headliners: Norman Sylvester, Linda Hornbuckle, Portland, OR E-mail:[email protected] Jay “Bird” Koder 503-223-7956 Services - Sound, lighting, stages & stage Billy Ray’s Dive covers, power 2216 NE MLK Cobolt Lounge Continued on page 14 Page 10 - TWO LOUIES, June 2002 TWO LOUIES, June 2002 - Page 11 Local track-record trivia. announcer Wayne Newton blew his intro “…Meredith Brooks jumps back into the Name the Everett, Washington player and called Ms. Brooks ‘Mercedes’. fi re with the high-octane Bad Bad One, her who showed up in the Hollywood studio Danke Schoen. bow for Gold Circle. Packed solid with sass scene as a teenage musician, played the Melinda Newman in her Billboard and a dozen kick-ass songs, the set showcases guitar parts on Ritchie Valens’ “LaBamba”, column The Beat (5/25) says Brooks’ new Brooks ably blending straight ahead plugged the Righteous Brothers “You’ve Lost That album Bad Bad One on Gold Circle is one in rock with enough contemporary elements Loving Feeling” and Sonny & Cher’s “I Got of just a few indie albums getting airplay to show that she’s kept an ear tuned into pop You Babe”, moved over to bass on “Good on Adult Top 40 radio stations. Brooks fi rst culture, including some intriguing brass Vibrations” with the Beach Boys, “Last Train single “Shine” came on Billboard’s Adult Top effects, drum loops, and vocal layering.” To Clarksville” for the Monkees, and “Light My Fire” with the Doors. Hint. It wasn’t a guy… Which is why we have events like last month’s Daisychain (See Skinny P.16) at the Mt Tabor Theater. The player in question, Carol Kaye, rose to top call in the Los Angeles studios in the 70’s and was a favorite of producers Phil Spector and Quincy Jones. The list of hit songs and scores she’s played on is overwhelming. In addition to the classics listed above she played her part on hits by the Buffalo Springfi eld, Joe Cocker, Lou Rawls, Sam Cooke, Ray Charles, Frank Zappa and a score of other artists. For movies and television she contributed to dozens of familiar themes from “Mission Impossible” and “Mash” to “The Godfather” and “Hawaii 5-0”. ……… Meredith Brooks grew up in Corvallis, played in bands in the northwest and launched her career in Hollywood from Portland with Meredith Brooks & The Angels Of Mercy. Then she had that worldwide freak hit “Bitch” that ruined the whole expectation thing. How do you follow phenomenon? In Meredith’s case she had chops to fall back on and even after the record deal at Capitol turned sour she was still a big musician story and one of only fi ve women to make the cover of Guitar Player magazine. Fender promoted her vigorously in Front Line and mulled a Meredith Brooks model Telecaster. Now she’s got indie cred and another chart record… VH1 invited Meredith to appear in the Super-Hyped- Divas Las Vegas -A Concert The Dandys and Meredith in the beginning. photo Buko To Benefi t The VH1 Save The Music Foundation, May 23rd with Celine Dion, th Cher, Janet Jackson and Whitney Houston. 40 Chart May 18 at #35. “A welcome return that shows the new Entertainment Weekly’s review of the event Chuck Taylor didn’t hold back in his kids out there a thing or two.” used a picture of Meredith squeezing a high review of the lp starred Album Review in Billboard (6/1), “…our heroine co-wrote all ……… note out of her Lake Placid blue Fender Meredith and the Dandy Warhols were Stratocaster. According to EW, Las Divas songs and co-produced the album, showing her savvy on all fronts.” once label mates on Capitol, both discovered Page 12 - TWO LOUIES, June 2002 TWO LOUIES, June 2002 - Page 13 by now moved on A&R executive Perry And if Pat O’Donnell and Mick Flynn Watts Russell and both initially released had twenty thousand dollars to spend, Les ……… around the same time. would’ve been celebrating his birthday at Courtney loves this… Meredith the pop star has the giant hit, the Monarch Hotel in Clackamas, where this Film director Gus Van Sant bailed out burns out, and is now on the charts with an year the 9th Annual City Of Roses Vintage of New York after September 11th arriving indie label while the underground Dandy Guitar Show will again take place Sunday, home in Portland with moving boxes packed Warhols are still with the major having June 9th. in layers of dust from his apartment on toured and won the fans gradually working “Since it’s his birthday, we called and Canal Street close to ground zero. Glitterati their way to international recognition. invited Les, but we just don’t have that say Gus is now holed up at the Gregory in the Gold in England, Ireland and kind of money to spend, so, we’ll just have Pearl District writing a screenplay about the Australia. a couple of Birthday cakes and sing ‘Happy last three days of Kurt Cobain’s life. Most recently the toast of Italy, Birthday at 4PM,” says Pat. “Courtney’s been schmoozing around, following the success of their charting The City of Roses Vintage Guitar Show, but he’s ducking her,” says an observer. song “Bohemian Like You” familiar began in 1994, attracts almost a thousand to European radio audiences through buyers and sellers every year and a wide a Vodaphone commercial and New variety of instruments and musical products ……… Music Express nomination for “Best are offered. “Real vintage guitars are getting Playback payback… Single” so scarce the show has evolved into more of a Floater’s new Pantheon lp “Alter” arrives Now, the Dandys hang out with musical instrument fl ea-market swap-meet.” in stores June 4th. They play the Roseland David Bowie (see Rosebud P.7) and Says Pat. Theater June 14th. will share the stage with him at the Vintage musing… Floater is bummed after losing one Meltdown Festival in London June 29th. I wonder how Les Paul would have felt of their Anubis (dog head) mascots off That one is sold out but you can wish back in those developmental days if he had the stage in Ashland, April 25th. “The two the band bon voyage June 13th at the known that those early electric guitars would Anubis heads that are always with the band Crystal. some day be so popular, manufacturers at practice, the studio and on stage were a From there it’s overseas for dates would be able to charge extra for rust on the gift from the band’s former sound engineer in the UK, Netherlands, Greece, Italy, hardware. and friend. They have had them for fi ve years Portugal, Spain, Ireland and Belgium. Guitar builders, led by Gibson, started and the band is saddened by the loss of one Capitol is about to announce the manufacturing new “old” instruments of them.” release date for the new album recorded several years ago after a rash of counterfeit “Also, if anyone knows anything about in Portland. dead-ringer 70’s Flying V’s appeared on the the box of 30 CDs and the 10 shirts that were vintage market and sold at authentic prices. taken from side stage, for whoever took these ……… Fender now offers three grades of faux things, if you don’t return them or if you sell Annyland comes to Irvington. vintage instruments including “Relics” them, we pity you…” Anny Celsi left Portland for which feature “nicks, scratches, worn and Hollywood a few years before Meredith checked fi nishes, rusty hardware and aged Brooks. Anny’s shtick was more art- plastic parts.” ……… folkie singer-songwriter. In Los Angeles “The manufacturers did exactly the SOUNDBITES…Fred Chalenor’s she landed a job in the licensing right thing.” says guitarist Doug Fraser. “I Face Ditch played a whole lot at the Long department at Warner Brothers and used to tell the Gibson reps they were only Goodbye during the punk era. Fred is proceeded to fi ll up her Rolodex with competing with their past.” Aside from moving home to Portland and has Face Ditch all the winning numbers. In March of playing with many of Portland’s major label in the studio in Seattle working on their fi rst this year she landed a track on the SIBL acts over the years, (See Rewind P.3) Doug CD…Former Dan Reed Network guitarist project compilation CD with Bruce was the guitar guru at Showcase Music for Brion James in the studio with Babyface Springsteen. eight years. after returning from dates on the road…Lew Anny has a new lp out herself and “I loved working in a music store. I knew Jones new CD “Sublimation” produced is zooming through Portland with a 10 everybody. And, as for gear…I heard it all. I by Dharma Bums alum Jeremy Wilson a.m. appearance at the Portland Arts knew what the best pick-ups were, what the rocks “a great deal more” than Lew’s latest Festival, Friday, June 14th. Later that “American Folkie”…tv616 at Berbati’s June best pots were, where to get the best necks th th night she’ll headline Sirens on Sixteenth and bodies.” Although Doug built his own 7 . Their EP is due August 10 and they’ll AvenueAvenue with Claudia Russell and Bruce guitar from state of the art parts, he disdains play Dantes that day for a live video shoot photo Buko Kaplan, an all-acoustic house concert the new amplifi er modeling technology of “Transfusion”…A CD Release Party for at her ancestral home in Historic UHF’s “If It Was Easy” at the Ohm Saturday, and says his trusty old ‘63 Vox AC-10 head, th Irvington. For reservations and details driving 2-twelve inch 15 watt ‘Bulldog’ June 15 …Spigot just back from France will call (503) 284-8905. play Music Millennium- Northwest Sunday, Celestion speakers, made “believers” out rd of recording studio engineers across the June 23 at 3PM ……… country. Les Paul will be 87 June 9th… LL

Page 12 - TWO LOUIES, June 2002 TWO LOUIES, June 2002 - Page 13 Noth ing, Honey Rider, Mortal Clay, Faith & Dis ease, Fuckpriest Fantastic Ohm 31 N.W. 1st Avenue Portland, OR 97205 503-223-9919 Format: Blues, Jazz, Acoustic, Pop, Al ter na tive. Booking: Dan Reed Capacity: 250 Equipment: SA PA system, lights, soundman Continued from page 11 Headliners: Slowrush, Imogene, The Sen su al ists Jazz de Opus The Rabbit Hole & Mad Hatter Lounge 33 N.W. 2nd Avenue 203 S.E. Grand Avenue Portland, OR 97205 Portland, OR 503-222-6077 503-231-2925 503-224-6631 (fax) Booking: Bill Leeds (503) 236-2455 Format: Jazz Format: original acoustic Booking: Haley Equipment: PA Capacity: 50 Headliners: Fernando, Luther Russell, 44 Long, Equipment: Piano & speakers Kaitlyn ni Donovan Headliners: Mel Brown, Thara Mem o ry, Kelly Broadway. The Red Sea 318 S.W. 3rd Avenue Jimmy Mak’s Portland, OR 97205 300 N.W. 10th 503-241-5450 Portland, OR 97209 503-224-6570 503-295-6542 Format: Reggae, World Beat 503-279-4640 Equipment: PA Format: Jazz, Blues Booking: Jimmy Rock Creek Tavern Capacity: 95-165 10000NW Old Cornelius Pass Road Equipment: none Hillsboro, OR Headliners: Tony Starlight, Pepe & Bot tle Blondes, 503-645-3822 Ben Fowler, Art Davis Quartet, Thara Memory Booking: Jan Haedinger Format: Americana, singer songwriter, acous tic and Kennedy School low volume electric 5736 NE 33rd Equipment12 ch board, 2 monitors, 3 mics, stands Portland, OR and cords. 503-288-2477 Format: Roots Rock, singer songwriter Roseland Booking: Jan Haedinger 8 N.W. 6th Avenue Capacity: 100-150 Portland, OR 97209 Equipment: PA provided Website: www.doubletee.com Headliners: Craig Carothers, Gary Ogan Format: all musical styles Booking: Double Tee/Adam Zacks Laurelthirst 503-221-0288 2958 N.E. Glisan Street 503-227-4418 (fax) Portland, OR 97232 Capacity: 1350 503-232- 1504 Equipment: PA, lights Format: Blues, Folk, Acoustic Rock Headliners: Local, Regional and Na tion al acts Booking: Bill Leeds: 236-2455 Capacity: 100 Roseland Grill Equipment: PA 8 N.W. 6th Avenue Headliners: Belmont Street Octet, Jim Boyer, Little Portland, OR 97209 Sue, Plumb Bob Format: all musical styles Booking: Double Tee/Adam Zacks Meow Meow 503-221-0288 527 SE Pine 503-227-4418 (fax) Portland, OR Capacity: 400 503-230-2111 Equipment: PA, lights Headliners: Local, Regional and Na tion al acts Metropolis 311 S.W. Washington Satyricon Portland, OR 97205 125 N.W. 6th Avenue 503-223-7515 Portland, OR 97209 Format: 70xs & 80xs Retro 503-243-2380 Booking: Rami 503-243-2844 (fax) Capacity: 500 Format: Alternative Rock/Punk/Var i ous Equipment: PA, lights Booking: Ingrid Headliners: Capacity: 250 Equipment: PA, lights Mt. Tabor Pub Headliners: Dead Moon, Poison Idea, Everclear, 4811 S.E. Hawthorne Blvd. Fernando, Flapjacks Portland, OR 97215 503-238-1646 Seges Format: all styles 818 SW 1st ave Booking: Peggy 503-232-8813 Portland, OR 503-279-0250 Capacity: Main Room 339 Acoustic Room 72 Snake and Weasel Equipment: PA, Lights 1720 SE 12th Headliners: Buds of May, Omar Torrez, Fernando, Portland, OR Ezra Holbrook, Steve Smith 503-232-8338 The New Paris Theatre The Jazz Bar at Sweetbrier Inn SW 3rd & Burnside 7125 SW Nyberg Rd. Portland, Oregon 97204 Tualatin, OR 97206 503-224-8313 503-692-5800 Booking: Senor Frogg (503) 236-7745 503-691-2894 (fax) Format: Punk/Gothic/Industrial/Af ter Hours Dance Format: Jazz Headliners: Written in Ashes, Grind stone, Mo bius, Booking: Denny 425-454-4817 Monkey Fur, Soy Futura, Sumerland, Good For Capacity: 50 Page 14 - TWO LOUIES, June 2002 TWO LOUIES, June 2002 - Page 15 Equipment: Piano, PA Tommy John’s Headliners: Mary Kadderly, Dana Lutz, Jean-Pier 248 Liberty Street Gareau, Salem, OR 97301 Marilyn Keller, Johnny Martin 503-540-4069 Format: Rock, Alternative, Funk St. John’s Pub Booking: Dennis Ayres 8203 North Ivanhoe Capacity: 150 Portland, OR 97203 Equipment: 6 channel PA, no mics, lighting 503-493-4311 Headliners: Xing, Jesus Presley, American Girls Format: Blue Grass, Soft Rock Booking: John Malloy 289-7798 Westside Station Capacity: 300 610 Edgewater N.W. Equipment: PA, lights, two stages Salem, Or 97304 Headliners: Regional, National, Local Bluegrass & 503-363-8012 Americana Format: Classic Rock Booking: Donny Tonic Lounge Capacity: 100 3100 NE Sandy Blvd. Equipment: PA, lights Portland, Oregon 97232 503-239-5154 Corvallis Format: Rock, Alternative, Goth Booking: Devon The Peacock Tavern Equipment: 125 S.W. 2nd Avenue Headliners: American Girls, Asthma Hounds, Corvallis, Or Feller, Mel 541-754-8522 Format: R & B, Alternative, Acoustic Tillicum Booking: Randy: 503-556-0405 8585 S.W. Beaverton Hillsdale Hwy. Capacity: 350, 275 Portland, OR 97225 Equipment: PA, lights 503-292-1835 Headliners: Linda Hornbuckle, Rubberneck Format: Blues, Jazz, Rock nx Roll Booking: Cindy Albany Capacity: 200 Equipment: none The Venetian Theater Headliners: Lloyd Jones, Norman Sylvester, Jim Mesi 241 W. 1st Avenue Band, Midnight Blue Albany, OR 97321 541-928-6733 Tug Boat Brewery Format: all musical styles 711 S.W. Ankeny Street Booking: Robert Connell Portland, OR 97205 Capacity: 685 503-226-2508 Equipment: PA, lights, soundtech, Format: acoustic rock, jazz Headliners: Calobo, Floater, The Daddies Booking: Megan Capacity: 50 Eugene Equipment: mixer, speakers and mic. Headliners: Creative Music Guild, Rob Blakely Good Times 375 East 7th Trails End Saloon Eugene, OR 97405 1320 Main Street 541-484-7181 Oregon City, OR 97045 Format: all musical styles 503-656-3031 Booking: Dog House Entertainment, Brendon 503-656-7872 (fax) Relaford: 541-342-7743 Photography & Graphic Design Format: Blues Tuesday-Saturday Capacity: 250 Booking: Randy Lilya (503) 556-0405 Equipment: PA, lights, sound tech Capacity: 150 Headliners: Body & Soul, The Daddies. Equipment: P.A., lighting Headliners: Little Charley, Paul DeLay, Duffy John Henry’s Bishop 136 East 11th Eugene, OR 97401 Vic’s Tavern 541-342-3358 10901 S.E. McLoughlin Format: alternative, hip-hop, funk, etc. Milwaukie, OR Booking: Bruce 541-343-2528 503-653-9156 Capacity: 300 Booking: Lynn Equipment: PA, lights Format: Original music-Rock Headliners: The Daddies, Floater Capacity: 100 Wild Duck Music Hall 503/282-1682 White Eagle 169 W. 6th 836 N. Russell Eugene, OR 97405 Portland, OR 97227 541-485-3825 www.buko.net 503-282-6810 Format: all musical styles 503-282-0842 (fax) Booking: Dog House Entertainment, Brendon Format: Various (no punk/techno) Relaford: 541-342-7743 Booking: McMenamins/Jan 503-249-3983 x 497 Capacity: 500 Chicks Capacity: 110 Equipment: PA, lights Equipment: 12 ch board, 3 monitors, 6 mics, Light- Headliners: Charlie Musselwhite, Calobo, John ing, Some in-house sound assistance Hammond dig Headliners: Buds of May, Steve Bradley, Jerry Joseph & Jackmormons, The WOW Hall Jeff Trott, John Bunzow 291 W. 8th Avenue Guitars. Eugene, OR 97405 Salem 541-687-2747 541-687-2746 (fax) Boones Treasury Format: all styles: music, dance, theater 888 Liberty N.E. Booking: Allison Carter Salem, OR Capacity: 400 503-399-9062 Equipment: PA, lights, soudtech, stage manager Format: Roots Rock Headliners: Greg Brown, Vassar Clements, Booking: Jan Haedinger NoMeansNo. Capacity: 75 Equipment: PA, 4 mics, 2 monitors, 1 amp 503-238-4487 LL 1736 SE Hawthorne Blvd. Page 14 - TWO LOUIES, June 2002 TWO LOUIES, June 2002 - Page 15 enough for me to do my white guy spaz dance for a few minutes, Groovyard is fronted by sultry vocalist Jenn Dashney, AG Donnaloia on fat jazz guitar, Dallas Huber saying it like on bass, Dave Muldoon on traps, Mike Wayland on sax and Russel Scott on trumpet. You have never lived until the incredible Miss Cybelvis Monroe in front of several hundred people has molested you while her husband Botielus snaps many embarrassing photos. This master performer is one of the reasons I love Portland so much. Cybelvis added a touch of vaudeville, a dash of glitz and a smidgen of sexy to the already complete line up, a true bonus indeed, for more info check out their website at [email protected] Other Bands of note from Daiseychain among ritish guitar legend Peter Green burned Portland based performers. Promoter Lisa Lepine many were the Tofu Groove Girls featuring the it up at the Aladdin Theater may 14th must have spent a fair amount of time putting sweet yet quirky (and naughty) lyrics sung by Nikki with the help of the backup band from together this diverse and wonderful lineup featur- Anders who also played piano, Debbie Kimerly on B Guitar and Andres Rustan on electric guitar and, heaven. Resurrecting a long lost and gifted human soul from the internal damages brought on by that the Jane Wright Band which played a sort of eclectic mean old devil LSD (short for Lost Stupid and mix of soulful southern folk style. The Jane Wright Dumb), brain cell loss and institutional therapy, Band is supported by Talbot Gutherie on drums (a shows us all that music can do many incredible very good listener!), Dan Gaynor on keys and Tyler things if given a chance. Smith on bass. www.janewrightband.com Now that I think of it, those of us that went I caught two excellent acts on the N.W. 23rd to their show at Seattle’s Eagles Auditorium in the Music Millennium stage, Tinhorn, a four piece early seventies all went into the music business and band with a nice feel for writing smooth but hot are still working in it today, Peter Green and the songs and, Juana Camilleri a singer songwriter who original Fleetwood Mac had a massive effect on was born in Mallorca Spain, and raised New York. rock and blues guitarist during that era and still The daughter of a prominent jazz musician Juana today. Evidence of that was plain to see during quite possible could be on of the best talents I’ve the pre show auditorium schmooze fest. Portland heard in a long time and I recommend her upcom- bandleader Eric Savage posted himself in the front ing Tuesday Night Show at the Bitter end on west row well within the riff-ripping zone as I call it. Eric Burnside as a great week night ear treat, bring a just fi nished several years working for the Clacka- date or a friend for a very special trip through the mas Guitar Center and now wants to focus more on mind and soul of a gifted and beautiful songwriter his band work and Peter Green licks. Check out the indeed. Die Job cut a great fi ve song CD! I heard it- Eric savage Band if you can catch them here abouts Miss Cybelvis smacks Denny. photo Botielus in the rose and music city. The Eric Savage Band it’s hot! Great titles as well: 1.Bitchwhore 2.Tussin is supported by Lofty on bass and the incredible ing fi fty-fi ve acts. 3.Psycho Jacko 4.The Martians Are Comin and Michael Joseph on “trap cannons”. Lisa Miller and the Trailer Park Honeys Their Pissed 5.Rhinestone. Good titles great CD. The Mt. Tabor Theater hosted yet another www.trailerparkhoney.com and Spigot For more info on Die Job talk to Billy at Conans th eastside music festival in may, the Daisychain Music www.spigotband.com both offered different tasty on 39 and Hawthorne. Stay cool! Fair as it is billed was an unexpected surprise and fl avors of a similar niche, Groovyard a jazzy fi ve offered a fantastic selection of female focused, and piece R&B funk-thing, put my daisies in a chain LL

MacProActive “Mac Daddy to the Music Biz”

Chris Palmer • 503.235.7195 • [email protected] http://www.macproactive.com

Page 16 - TWO LOUIES, June 2002 TWO LOUIES, June 2002 - Page 17 playing a delicate melody in the chorus. A slightly the song “Roads To Moscow,” an eleven minute schizophrenic tune. opus that told the tale of a German soldier caught “Pants With His Halfway Down” is an allur- behind Russian lines in World War II. ing little tango. Esperanza weaves a spell with her Stewart’s ability to fuse historical accuracy insouciant vocals and dynamic basswork, over with a gripping storyline was duplicated only Continued from page 9 Cochran’s expert drum articulations. Workman by Gordon Lightfoot’s “Wreck Of The Edmund returns to take the lead vocals on “Blisters,” another Fitzgerald,” which wasn’t half the song that Stewart’s sort of like the Cranberries, without the brogue, song that changes gears a few times through the was. Others had already explored the short story the band strikes a winning pose— with Esperanza course of the arrangement. Esperanza lends rare angle. Paul McCartney recorded “Eleanor Rigby in coolly delivering a winsome vocal. An electric harmony backup vocals in the chorus. The fi nal 1966 and Elton John came forth with “Where To piano figure and synth string pads add depth cut, “Evil Petting Zoo,” is a gentle ditty in 3/4 time, Now St. Peter?” in 1970. And threads of those songs and dimension to the presentation. A charming nicely arranged, with a faint European feel to the weave through the eleven presented here. song; and quite radio friendly (as the band glibly proceedings. Singer/songwriter Colin Meloy carries on announces in the CD booklet). Noise For Pretend show great gains in a short that storytelling tradition with the Decemberists, Workman takes over the vocal duties on time, offering a world of promise for their future. a band that is comprised of a few former mem- “Melatonin Head.” Ben’s slightly adolescent voice Esperanza Spalding has special talents that deserve bers of Calobo: Nate Query who adds occasional is not as appealing as Esperanza’s, but he does to be heard by a much wider audience. The band’s upright bass and keyboardist Jenny Conlee. Meloy quite well with what he has all the same. Cochran’s material is offbeat, too be sure, which precludes may or may not be Bri’ish, but he has a scouse as restrainedly explosive drumwork adds power to the the sort of instant success one might expect from thick as a Hasty Pudding. Oy! This adds distinctive otherwise quiet song. As was mentioned earlier, such monumental abilities. But the fact remains coloration to the Dickensian splendor of his short “Money Penny” could easily work as a James Bond- that, despite the fact she’s taking the slow road, stories. For one thing is certain— Colin Meloy is a like spy theme. Workman’s guitar colorations are hers is a talent that will one day accrue widespread true wordsmith of the very highest order. especially imaginative here. Esperanza’s sexy vocal recognition. The band she plays in is pretty excep- Many of Meloy’s songs seem as if they are adds to the milieu. tional as well. remembrances from former lives. They are haunted An element of Nancy Sinatra hovers around Castaways And Cutouts— The Decemberists tales, seemingly being told by ghosts; telling of days the motorbike mayhem of “Red Wagons Aren’t Very Hush Records and times long ago. It’s a powerful artistic medium, Long.” Spalding’s bass interplay with Workman’s n the 70’s there was a British folksinger if a little eerie and strange. palm-muted guitar pluckery is a thing of beauty. named Al Stewart, who eventually scored a “Leslie Anne Levine” is a perfect case in point. “Corduroy” is a moody ballad which fi nds Esper- hit with the song “Year Of the Cat” in 1976. A splendid imitation of Edward Arlington Robin- anza exploring the lowest part of her lowest register I But before that, Stewart spent a few years writing son ensues. “My name is Leslie Anne Levine. My in sultry fashion, while Workman demonstrates “history songs,” songs whose lyrics contained mother birthed me down a dry ravine. My mother stalwart sensibilities with superlatively rendered vast amounts of historical information. Perhaps birthed me far too soon. Born at nine and dead at guitar inventions. Workman’s vocal on “Seven Stewart’s fi nest achievement along that line was noon.” The story goes on to state: “On the roofs Dead Kids” starts out as a sort of rap, before dis- Continued on page 20

Page 16 - TWO LOUIES, June 2002 TWO LOUIES, June 2002 - Page 17 Continued from page 18

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Page 18 - TWO LOUIES, June 2002 TWO LOUIES, June 2002 - Page 19 LAST MONTH LAST THIS MONTH 1 1 I CAN LICK ANY SONOFABITCH IN THE HOUSE/In Music We Trust CD ..... Creepy Little Noises 2 2 KING BLACK ACID / Lakeshore Records CD...... Mothman Prophecies 3 3 GODLINGS /Art Compound CD ...... Something Shiny • 3 VARIOUS ARTISTS / Troutdale Poetry Ex CD ...... Deep Roots V 6 4 31 KNOTS /54 40 or Fight CD ...... A Word Is Also A picture of a Word 5 4 AUDITORY SCULPTURE / Four Eyes CD...... Merge 7 5 KING BLACK ACID / Download CD...... The Other Voice 5 5 RM 101 /(Indecisive Records CD ...... Half Of What You Wanted 3 6 WATSONVILLE PATIO / Tequemo Records CD.....Cover the Sun with One Finger 5 6 THE COUNTRYPOLITANS/Sideburn CD...... Face of My Hometown 7 7 JOHN FAHEY TRIO/Jazzoo Records CD...... Volume One 9 7 JON KOONCE AND THE HONKY TONK TRIO /Moon CD...... Mysterious Ways 8 8 LAUREL CANYON / Demu CD...... EP 9 9 THE QUAGS /Paisley Pop Label CD ...... Out in The Community 12 10 THE RUNAWAY BOYS / Demo CD...... You’ll Shoot Your Eye Out 11 11 THE BOYS FROM IPANEMA / Demo CD ...... Three Songs To Go 13 12 LEW JONES / Terwilliger Records CD ...... American Folkie • 13 THE SURF COWBOYS/Almost Paradise-CD...... Collection 84-86

• 1 I CAN LICK ANY SONOFABITCH IN THE HOUSE/In Music We Trust CD ...... Saturday • 2 CARMINA PIRANHA/Troutdale Poetry Experiment CD...... No More Rhymes 4 3 WATSONVILLE PATIO / Tequemo Records CD...... Foolhardy 5 4 GODLINGS /Art Compound CD ...... Puta • 5 31 KNOTS /54 40 or Fight CD ...... Breathe To Please Them

Wednesday, June 5st ...... TBA Wednesday, June 12th...... The Godlings Wednesday, June 19th...... TBA Wednesday, June 26th...... TBA

Page 18 - TWO LOUIES, June 2002 TWO LOUIES, June 2002 - Page 19 soulful organ fills and Funk’s sterling guitar guitar behind the simple folk offering “Clem- interplay. entine.” Query bows his bass adding a cello-like The tender story that is “Grace Cathedral Hill” drawl to the lazy sun-drenched “California One,” is possibly the best love song about the city since a song that should appeal to the Sonoma county Tony Bennett’s “San Francisco.” Conlee’s sad organ Chamber of Commerce. Through the course of an Continued from page 17 tolls mournful tones, supporting Colin’s most extended jam, the song evolves into “Youth And focused song of all. His unique phrasing wherein Beauty Brigade,” the sort of club Max Fischer might above the streets, the only love I’ve known is a he begins one melodic line with the end of the form in Rushmore. “ chimney sweep lost and lodged inside a fl ue back preceding lyric, draws the listener into his frame Colin Meloy and the Decemberists create a in eighteen forty-two.” of reference. “We were both a little hungry so we world of their own; a world where the ribbon of Musically, Meloy enters the scene on a fl uid went to get a hot dog down the Hyde St, Pier. The time wraps in a curious bow; where the past and acoustic guitar, joined by Conlee on accordion and light was slight and disappeared. The air it stunk present are inextricably intertwined. Meloy is a drummer Ezra Holbrook. Meloy sings the lyric in a of fi sh and beer.” A gorgeous, unusual chorus adds gifted poet and storyteller. And, with two certifi - nasal drone, quite like that of the aforementioned Al Stewart, though it is uncertain whether our young Colin could possibly know of his prede- cessor. Similarly, though, “Here I Dreamt I Was An Architect” rides upon Colin’s homely vocals and buoyant acoustic guitar, soon joined by lead guitarist Chris Funk and Conlee on electric piano and Hammond organ. It’s Colin’s “Year Of The Cat,” to be sure. Meloy tosses a little sneer into his delivery and sounds more like Liam Gallagher of Oasis on “July July,” a feat which he duplicates on brilliance and luster. Another stand out song. able “hits” among the bunch, and a high level of “Odalisque.” “The Legionnaire’s Lament” could almost quality in craft and performance throughout, the Conlee’s accordion shows up again on the pass for a Bella Fayes song, heavily accenting all band (if it is indeed more than just a backup band bawdy “A Cautionary Tale,” a sort of sick joke four beats behind a dark, McCartneyesque ditty behind a solo artist) maintains a delicate balance about yer mother. It’s a Russian folk flavored about a soldier dying in the desert. “Medicating in between the aura of Bronte-like windscapes bal- number. Puerile and profane, but well written and the sun with pinch doses of laudanum, longing for anced against a few, more personal, introspective performed, all the same. The accordion adds a more the old fecundity of my homeland. Curses to this pieces. Meloy is a true talent. Where he goes from Western European touch to the suite “Odalisque.” mirage! A bottle of ancient shiraz. The smattering here with that talent is not yet entirely clear. But, As Meloy strikes a disdainful, Liam Gallagher-like of distant applause is ringing in my poor ears,” more songs like “Grace Cathedral Hill” and “Here I vocal stance, the song structure and arrangement Eminem it ain’t. Dreamt I Was An Architect” will ensure his proces- refl ects a more modern approach; breaking into a Funk lays down an atmospheric pedal steel sion toward greatness. prog-rockish midsection, augmented by Conlee’s LL

Page 20 - TWO LOUIES, June 2002 TWO LOUIES, June 2002 - Page 21 SESAC FOR PUBLISHERS AND SONGWRITERS the public performance income payable to the pub- When music is “publicly performed” -- as in, lishers and songwriters of the underlying song. The for example, the case of music which is broadcast same considerations do not apply to the owner of the as part of a television show, or publicly performed master recording of a particular recorded version of Continued from page 5 online (for example, in an online computer game)- the song --i.e., a band or its label. Under U.S. copy- - the publisher of the underlying song and the song- right law, the owners of master recordings, unlike the Even when the up-front synchronization writer will be earning not only the synchronization owners of the underlying songs, are not entitled to license fee is small, there can still be some very sub- fee which they received from the producer, but also public performance income for the broadcast of their stantial public performance monies to be eventually “public performance” income from the publisher’s recordings in the United States (except for certain received by the publisher and composer from their and composer’s performance rights society (i.e., Internet uses). The situation is different in many performance rights society (i.e., ASCAP, BMI, or ASCAP, BMI, or SESAC). This “public performance” foreign countries, where labels can earn substantial SESAC), as discussed in more detail below. income can be very substantial. sums from the “public performances” of their master Often the license agreement will contain a “most Sometimes, however, the public performance recordings in those foreign countries. favored nations” (aka “MFN”) clause, which says that income can be very small--for example, when music In short, the owner of the master recording’s if multiple songs are used in a film, computer game, is used in a cable show. This is because of the low only source of U.S. income from the master use etc., then if the producer pays another publisher a rates that have been negotiated between ASCAP and license will be the up-front master use fee which higher fee than you (as a publisher) have negotiated, BMI, on the one hand, and cable networks on the it receives from the producer, since it will not be then you will get the same (higher) amount that the other hand. The fact that these rates are so low has receiving any public performance income from other publisher has negotiated for. become a controversial issue among many members ASCAP, BMI or SESAC. As a result, the owner of of ASCAP and BMI, particularly given the fact that the master recording may feel more of a need (than “MASTER USE” LICENSING ISSUES many of the cable networks have become lucratively the publisher) to negotiate to receive the highest Many of the issues mentioned above in regards profitable for their owners. possible up-front fee from the producer. to synchronization licenses are also issues in negotia- In any event, there are still many situations tions over master use licenses. As for the amount of the licensing fee to be paid in any given situation, the amount of the master use fee to be charged by the record company is often very similar in amount to, or identical to, the syn- chronization fee charged by the publisher in that same situation. In some instances, however, the record com- pany negotiating the terms of a master use license may be more anxious (than the music publisher who is negotiating the synchronization license) to have in which public performance income can be quite Editor’s Note: Bart Day is a Portland-based the music used, in order to promote an artist who substantial, and in those situations, the publisher entertainment attorney in private practice and is currently has a record out. And so, the record com- is often willing to accept a synchronization license also music counsel for Vivendi Universal Games, the pany may be willing to agree to a lower fee than the fee significantly lower than it would otherwise be computer game division of Universal Studios. publisher is willing to accept. On the other hand, I inclined to accept, rather than potentially losing the Bart is also the co-author of a chapter (entitled have seen instances in which the record company has deal (thereby losing not only the synchronization “Contracts and Relationships between Major Labels required a higher fee than the publisher has. license fee paid by the producer, but also the “public and Independent Labels”) in The Musician’s Busi- Also, sometimes there is a large difference in performance” income earned from ASCAP, BMI or ness and Legal Guide, a book compiled by the Beverly the fees charged by a publisher and record company SESAC by reason of the broadcasts of the television Hills Bar Association and published by Prentice-Hall because of the fact that there is a small publisher or show). This is particularly true in certain instances, Publishing (New York). record company involved which is not very experi- such as when a song is being used as the title song The reader is cautioned to seek the advice of the enced in the licensing area, and which as a result has for a TV show, or when music is being used in info- reader’s own attorney concerning the applicability of unknowingly (and unnecessarily) quoted too low of mercials which are being broadcast over and over the general principles discussed in this column to the a fee to the producer. for long periods of time, which can generate large reader’s own activities. amounts of “public performance” income. ADDITIONAL INCOME FROM ASCAP/BMI/ Bear in mind here that we are only talking about LL

Wot’s th’ fuss? TwoLouiesMagazine.com

Page 20 - TWO LOUIES, June 2002 TWO LOUIES, June 2002 - Page 21 MUSICIANS CLASSIFIEDS STOP IN ANY PORTLAND MUSIC FREE LOCATION & FILL OUT THE FREE FORM •Rock & Roll Trio seeks working bands only! All styles. working band. Must sing and rip •Guitarist seeking Blues/R&B keyboardist/ vocalist w/2 set Pro gear & attitude. Can travel. last lead Tray Spence of Blue band with steady work. Also harp, repertoire. 50’s- 60’s- 70’s rock, Call Dan 503/358-7935 Cheer. Call: 503/324-9261 vocals & keys. Pro gear. Gary blues, ballads Patrick 503/636-7449 •Wanted bassist to complete •Bassist wanted for hard rock/ (503) 693-9837. •Creative bass player w/chops band of all new original heavy alternative band. Original music, •Looking for female singer to looking for people with similar grinding sounds. Call Dale: 503/ cool people, good equipment. work on recording. Guitarist & tastes. Yes, Grand Funk, Kid 742-9957 Call for info: Matt 503/723-3735 song writer with 24 track digital Rock, G&R, Parliament, •Wanted bassist for hard core •Drummer wanted. Contemporary studio. Free tapes & cds. Call Beasties, Tribute Band or mix- band. Complete our pissed-off Country band Hillsboro area. Peter:503/359-0928. it-up. Collyman 503/658-2113 lineup. Good equipment, skill [email protected] •Guitar player, plus vocals and •Drummer needed for rock & attitude. Call Matt: 503/723- •Band seeking front man vocalist blues harp, looking for 50s/60s to form an Iron Maiden cover band, working or forming. band. We have tons of original 3735 evenings •Late 40’s guitarist looking band. Call: Jason 503/771-3322 Weekly practice. Monthly gigs. material. Firehose, Meat to join or form a hobby band. •Free Jam Session Wednesdays Experienced and dependable. Pat, Puppets, White Stripes, Nirvana, Influences include Hendrix, 8PM at the Gresham Inn, 117 N. 503/636-7449. John Fahey Joe 503/239-4712 Santana, Clapton etc. Dedicated Main •Local original rock band looking •Rehearsal rooms 24 hr access and enthusiastic. Call Larry •Experienced bassist needed for for a bass player. We have great Northwest Portland 503/245-0880 at 503/641-2650 or e-mail at Hard Funk Jazz. Only serious material and are getting ready to gig. •Bass Player / Songwriter [email protected] need call. Own rig a must. Gigs & Interested? Call Jay at 503-574-2591. Original music. 35 years •Male lead singer and keyboard Traveling. Call Kenny: 503/297- •Electric violinist and drummer experience. Call Mike player wanted for Classic Rock 2314 seek male tenor lead and bassist/ 360/687-1147 E-mail: Band. Must be reliable. Practice •Creative bass player interested in harmony vocalist. All oroginals. [email protected] every Saturday in Beaverton either joining or forming a band. Influences: Sting; U2; Dave •Learn how to play music with a Call: John 503/645-2297 Hip-Hop, Funk, Folk, Worldbeat Matthews; Peter Gabriel. Call drumset. Acoustic or Electronic. •Male Vocalist seeking Modern and Hard Rock. 503/241-5943 Brian (503) 293-2390. 27 yrs experience. Crazy Metal Band. Influences •Singer needed. Rehearse once a •Guitar Guy seeks 50-60’s variety 8’s, Shock, Afrodisiacs, Soul Godsmack, Disturbed, week. We have 2 guitars bass & band. Oldies, R&R, Blues and Vaccination. Contact Howard: Drowning pool. Serious only. drums and are in our 40’s. Variety ballads 1-2 gigs a month and 503/614-0287 Tracy 503/ 720-9469 of music covers & originals.503/ weekly practice. Guitar, Vox, •Pro drummer available now for •Wanted Lead Guitarist for 289-4234 or 503/775-2677. Harp Pat (503) 636-7449

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Page 22 - TWO LOUIES, June 2002 TWO LOUIES, June 2002 - Page 23 web site at www.deeproots.com for more informa- tion on the kids, the project and the artists they have worked with! Thanks for all you do for musicians and the musical community as a whole. Thank you in advance for your consider- ation! Respectfully, Jimi Campbell SugarBang Continued from page 3 his name, is a sales manager at a new car dealer- Executive Assistant / Project Manager ship in Portland. I’m a welder who plays a Robert Facility Operations Cray model Stratocaster on the weekends and still Oregon Arena Corporation reads Two Louies. Thanks for the memory, Dennis Caldwell LL Proceeds from the sale of the CD’s this year will help continue to support this program for future projects. Check out the student designed web site at www.deeproots.com for more informa- tion on the kids, the project and the art- ists they have worked with! Dear TwoTwo Louies,Louies, I’m an avid reader of your magazine, and I just thought you should know about an amazing ON THE COVER.- Kevin Calaba and Going To March are deep into recording their fi rst album in Eugene event that happened May 13th at Reynolds High with a projected September release date. Kevin and School. You may have already heard the news, but second guitarist Jason Bell have written together just in case, here it is: for fi ve years and added drummer Greg Epman and bassist John Huckfeldt six months ago. Going Many awesome local musicians have donated To March plays the Fez Ballroom June 14th. their time and talent to work on a CD using lyrics (Photo: Pat Snyder) 4811 SE Hawthorn 503-238-1646 written by Chris Gragg’s Senior English students from Reynolds High School. May 13th was the JUNE 2002 CD release party where the musicians got to Mondays / Reggae Jam perform the music they wrote in tandem with the Tuesdays/ Upright Dub Archestra kids. These musicians often took time out of their busy schedules to make “classroom” appearances 5- Kite, Vanishing Kids, She Said Yes during the writing workshops, and helped guide 6- The Spaces • Established 1979 • 7- Om Trio, Greyhounds the students in the lyrical direction for their writ- TWO LOUIES PUB LISH ING ing and the CD creation process as a whole. Some Editor: Buck Munger 8- Freemartins, Atom Sane, Hooka heavy-weights have in previous years offered up Graphics & Photo Editor: Buko Stew TwoLouiesMagazine.com Art Director:Deb McWilliams their talents to these budding lyricists and include 12- Global Funk Council Writers: 13- Mood Food names like Jeff Trott ( I see his name in your Grand Marc Baker • S.P. Clarke • Bart Day Ole Soap Opry so much, I feel like I know him), Den nis Jones • Denny Mellor 14- Vickers Spitfi re Robin Rosemond • Stephanie Salvey 15- Jerry Joseph, Richmond Fontaine Stephanie Schniederman, and the list goes on and Photographers: on... 19- Ramblin Rose David Ackerman • Buko • Gustavo Rapoport • Pat Snyder 20- American Hit List, Smidgen Blake Sakamoto from the Dan Reed Network Printed by: Oregon Lithoprint 21- Higher Ground, Gregg’s Eggs and Slow Rush is the Musical Director. Two Louies Magazine 2745 NE 34th • Portland, OR 97212 22- Jeffersons, Jonah, Dr. Theopolis, If this is the fi rst you are hearing about the PHONE (503) 284-5931 • FAX (503) 335-3633 Bella Fayes project, I hope you’d consider this an event worthy Email addresses: 26- Wapeka, Coil Pac, Punch Festus of some coverage in your grand mag (and maybe Editorial: [email protected] Layout: [email protected] 17- Culture if you do, it will encourage future participation by © 2002 by Two Louies Magazine. May not be re pro - 28- John Brown’s Body other musicians next year)! duced in any form without the ex pressed writ ten 29- Dry County, Crooks, Wife Stealing consent of the publisher. Two Louies is avail able by Proceeds from the sale of the CD’s this year Bastards will help continue to support this program for subscription. Send $35.00 for one year, post paid. future projects. Check out the student designed Page 22 - TWO LOUIES, June 2002 TWO LOUIES, June 2002 - Page 23 ��������������������������

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