OREGON MUSIC / APRIL 2002

photo Pat Snyder

OREGON STUDIO/MASTERING ������������������������������������ ��������������������������������������� ����������������������������� ��������������������� ��� ��� ������������������ ������������������ No Joke! Now’s your chance! Expires April 30, 2002. ��� ����� ������ � While supplies last. Expires April 30, 2002. �� ������������������ ��������������� ������������� � Expires April 30, 2002. ��

�������������� �������������������������������������� �������������� ������������������������������������������������������� ���������������������

TWO LOUIES, April 2002 - Page 3 photo Buko

uly 4th, 1993. Richard Berry, the writer drums, Rich Gooch played bass, Gary Ogan played During Berry’s stay in Portland, the Oregon His- of Portland’s Greatest Hit, “Louie Louie” piano and Gregg Perry played Hammond B-3. torical Society installed a plaque at the recording Jheadlines the Blues Festival. Saxophonist Perry said, “I looked over his shoulder and realized site where the Kingsmen recorded “Louie Louie” Renato Caranto and guitarist Mark Spangler pic- after all these years, I was fi nally seeing how ‘Louie on April 16, 1963. Richard Berry passed away in tured. For Berry’s historic set, Jon Koonce played Louie’ was supposed to be played on the keyboard.” Los Angeles January 23, 1997. LL

We’ll be looking for the Too Louies “Mothman”. The movie sucked but it was coverage. cool to fi nd the spot where Dan Riddle’s music gets used. Too bad they didn’t pay Jason McCormick him enough to keep his cell phone turned Portland, OR on. MINIMUM RAGE “You guys did a story on The Red GC BLOODBATH Sector and me leaving the band to Dear Editor, What’s up at Guitar Center? I picked up the audition for Powerman 5000. I got March issue of Two Louies with the Free Richard Petrillo tee shirt letter about the the gig and I’m now in Hollywood guy who threw the pie in Fred Durst’s face, and within days, the manager, the assistant working on the new record.” manager and a dozen people are all fi red at the Clackamas store where it happened! Chris Gore Did Limp Bizkit’s manager chew some ass Dear Editor, Milwaukie, OR Enjoyed the coverage of King Black at Guitar Center Headquarters? Goodbye Continued on page 31 Tony, Smokey and the crew? Acid’s movie music for Richard Gere’s

TWO LOUIES, April 2002 - Page 3 Joshua James & the Runaway Train @ the Tonic Lounge.

Page 4 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 5 ���������������������� ������������������ This year marks the 50th Anniversary of the Gibson Les Paul Guitar. So it only makes sense to hold the 9th Annual ‘City of Roses Vintage Guitar Show’ on June 9th, Les Paul’s birth- day.

Come join us in celebrating Les Paul’s Birthday and the 50th Anniversary of the Les Paul Guitar.

����������������������� ������������� 12566 SE 93rd Clackamas, Oregon

��������������������������� ������������ ������������

Page 4 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 5 Page 6 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 7 Record Producer Agreements: The Basics fi nancial repercussions for the artist. agreement. The record company will own all his month, I want to talk about the If the Artist Is Signing The Deal. If the masters and will normally have approval rights basics of record producer agreements, producer agreement is between the producer and over the masters. This gives the label the right Ti.e., the kind of agreement used when a the artist, the record company will often (but not to reject any masters which are not technically or record company or signed artist is hiring a record always) have the right to approve or reject the commercially satisfactory. producer.

AN OVERVIEW Under the terms of the typical record pro- ducer agreement, the producer is paid a cash advance. The producer will also be entitled to be paid royalties on future record sales, subject to certain conditions (described below). However, producer. Also, the record company will typically If the producer owns the studio where the the record company, before being obligated to require the producer to sign a side agreement project is going to be produced, generally the pro- actually pay producer royalties, will be entitled directly with the record company (sometimes ducer will submit a recording budget for the esti- to fi rst recoup (deduct) from those royalties the called a “Producer Declaration”). This document mated studio fees and the miscellaneous recording amount of the advance originally paid to the pro- will say that if there is any confl ict between the costs (e.g., session musicians). These expenses will ducer. Any remaining amount will then be paid terms of the agreement between the artist and usually be referred to in the producer agreement to the producer. producer, and the recording agreement between but generally will not be considered as part of the So, for example, if the advance is $25,000 the artist and the label, the terms of the recording advance to the producer. Therefore, the studio and the producer’s royalties eventually add up to agreement will supersede and preempt the producer fees and expenses will be recoupable as recording $60,000, then the producer will receive an addi- agreement. This permits the record company to, costs from the future combined producer and artist tional $35,000 (i.e., $60,000, minus the original in effect, override any provisions in the producer royalties, and not just from the producer’s future $25,000 advance). agreement which are contrary to the label’s normal royalties alone. policies, and to avoid any contractual obligations 2. Payment of An Advance to the Producer. RECORD PRODUCER AGREEMENTS: not already contained in the artist’s recording The agreement will provide for the producer to be WHO SIGNS THE DEAL? contract with the label. paid a certain cash advance. This advance will be Depending on the terms of the artist’s record- Record Business 101: If you’re a producer, recoupable from the producer’s future royalties, ing contract with a record company, it may be the you want to do everything possible, before you start as shown in the example given at the beginning record company who contracts with the record producing a record, to try to get the record com- of this article. producer, or alternatively, it may be the artist who pany to agree in writing to pay you your producer Sometimes, the advance is paid on a “per does so. royalties directly, rather than you having to collect track” basis, and the amount per track can range If the Record Company Is Signing The Deal. your producer royalties from the artist. from $1,000 to $25,000, and even more for top If the producer agreement is between the producer First of all, the artist may very possibly not producers. and the record company, the record company will have the money to pay you when your producer 3. Producer Royalties. Usually the producer generally require a “Letter of Direction” from the royalties become due. royalty is in the range of 3% to 4% of the retail price of records sold. For hot producers, the royalty is often higher. In most instances, the band’s recording agree- ment with the record company will provide for an “all-in” artist plus producer royalty. For example, if there is an “all-in” artist/producer combined roy- alty of 14% of the retail price of records sold, then if the producer royalty is 3%, the artist will receive the remaining 11%. This remaining percentage payable to the artist is usually called the “Net Artist Rate.” (Incidentally sometimes, particularly in the case of country music recording agreements, the artist, authorizing the record company to pay a Secondly, even if the artist “directs” the record royalty rate provided for in the recording contract certain designated advance and royalty directly company to pay you directly, such directions are is an “artist only” royalty, and not an “all in” (artist to the producer. not binding on the record company, and so the plus producer) royalty rate. In that situation, the Depending on what approval rights are con- record company may refuse to do so. artist’s royalty rate is not affected by what the tained in the pre-existing recording agreement producer’s royalty rate is.) between the artist and the record company, the RECORD PRODUCER AGREEMENTS: Producer agreements and recording agree- record company may be contractually required to THE BASICS ments usually provide that no royalties will be paid obtain the artist’s written approval as to the selec- The basic provisions of record producer to the producer until all recording costs have been tion of the producer, as well as the terms of the agreements are as follows: recouped at the so-called “Net Artist Rate.” Using producer agreement. From an artist’s perspective, 1. Payment of Recording Costs and Owner- the example from above, if the producer royalty is it is very important to have this right of approval, ship of Masters. The record company pays the 3% and the “all in” artist plus producer royalty is since a “sweetheart deal” between a record company approved recording costs. Often there is an item- 14%, then the “Net Artist Rate” is 11%. Once the and a producer can sometimes have very negative ized recording budget attached to the producer Continued on page 27

Page 6 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 7 Dig Up The Astroturf- Jeff Trott Black Apple Records he theme for this year’s Houston Astros post-Enron baseball team? No, this is the first solo album from Jeff Trott. Trott has never been in Ta successful local band. He is not the toast of Paris and four countries. He has never had an album in the local Top Ten. His is not a household name. Yet, Jeff Trott is one of the most successful musicians ever to inhabit our soggy environs. We have all heard his songs sung on the radio, but not by him. We have instead, heard the voice of Sheryl Crow, who counts Trott among the foremost of her songwriting partners, referring to him as “My musical alter-ego.” She has also said of their writing relationship: “I love writing with Jeff, because he and I have Continued on page 10

photo Buko

Page 8 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 9 ello Two Louies fans! My musical to buy a house there. Walt and I drove all over and injured several fireman) and why he lives and pick of the month is Rural Jazz by checking out houses, learning the lay of the land, writes in Astoria. We visited the Astoria Column, HRetta & the Smart Fellas. This is a and visiting with some of the local legends. We and enjoyed lunch with Colleen Siegfried and her joyous record and I have fallen for their natural, spent some time with writer Michael McCusker, beautiful daughter Ruby at the Columbian Cafe. unaffected style. The pleasant music fills the who publishes the North Coast We also chatted with Dinah Urell, the editor of house with a sound that Eagle Times. Michael came to Hipfish, a local publication in Astoria, who invited is old fashioned, but I our reading at the Voodoo, but Walt us to return for another reading in the summer of appreciate the pure, and I also visited him at the Godfather’s fall. I will keep you posted. western style. coffee shop and bookstore. McCusker talked I’ve decided to become a member of the Maryhill Museum and plan on having many picnics and road trips to that historic spot for the rest of my life. Hank Pander has some of his paintings hang- ing there for a time, and I went to hear him speak about his work. What a magical day! I went with Susan Stanley and Heidi Snellman and it was girl’s day out. We were not only happy to be together on a road trip, but we got to hear Hank talk about his Retta Christy is a looker, with a solid voice that is work, and admire the Maryhill collection and gift true. She comes from a very musical family, and shop. I listened intently while Hank described when she gets her fellas to holler the background his youth in Holland and why he came to vocals, I can’t help but want to America. Hank’s colorful and passionate art dance and smile. Jim Goodwin, an fits in with the feel of Maryhill. The museum international jazz piano player, is and Hank’s work seem haunted by a good great on the record, and an endear- ghost or two. The entrepreneur Sam Hill, ing performer live, with his sleepy who in 1907 purchased the 6,000 acres of eyes and graciousness. For book- land along the Columbia River, started ings contact Retta: 503 735-2651 or construction on the site in 1914. Hill’s email: [email protected]. diplomatic travels introduced him to life- It’s Oscar night and I’ve just long friends Queen Marie of Roumania, driven back from Astoria where I was avant-garde dancer Loie Fuller, and San invited to a fabulous Academy Award Francisco sugar heiress Alma de Brette- party. Some of the guests included ville Speckels. Hill was a visionary, and Jessica Schleif, Jane Herrold, Julie the Maryhill was originally planned as Larson, Max Brown and Sid Cooper. a private residence, which was named Sid played along with the rest of guests after his daughter Mary. He wanted at the party, who were adorned with to start an agriculture community, wigs by the lovely Leah Larson. Leah but when that did not materialize, giggled with glee when she convinced Loie Fuller convinced Hill to con- Walt Curtis to wear a short, blond wig vert the unfinished house into an that made him look like Elton John. The art museum. When Sam began chef and host Uriah Hulsey was crowned building Maryhill, he promoted with a Chinese beanie that sported a long, the location as “where the sun black braid. Uriah prepared a delectable of the East meets the rain of the feast for kings that included giant prawns West.” I strongly suggest you with papaya salsa, grilled salmon, halibut, check it out. For visiting infor- sturgeon, chicken and veggies. Jeanine and mation and hours for the Maryhill Uriah not only have an annual Oscar Party, Museum of Art call: 509 773-3733 or visit their but their Scotty is named Oscar. Oscar was website: www.maryhillmuseum.org or e-mail: groomed beautifully for the occasion, and [email protected]. was thrilled when some of the guests brought their dogs. They immediately formed a pack that ran from one end of the house to the other in a tumbling heap. I not only went to Astoria to enjoy the annual Oscar party at Jeanine Fairchild and Uriah Hulsey’s home, but I also got to read poetry with Walt Curtis at the Voodoo Lounge. It was a memorable eve- ning and although it was tough reading between sets of Retta and her fellas, Walt and I managed to get the crowds attention, and had a fine time about life, death, being a Vietnam vet, his family, Please write to me: [email protected] entertaining the folks that live at the end of the capsizing his fishing boat, fighting fires, (even his trail. Astoria is a magical place, and I still want own house fire which claimed the life of a man, LL Page 8 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 9 mystical line “Calling Dalai Lama/ What happened The quality of the songwriting is, of course, to your mama?” Well, that’s certainly a koan worth consistently high, though no song seems readily contemplating! “Good Luck Club” fi res on all identifi able as an instant hit. Trott’s lyrics are a cylinders, easily worthy of all the aforementioned tad oblique. That circuity, coupled with a gen- references, especially that of Karl Wallinger. Trott’s eral dearth of truly memorable melodic hooks Continued from page 8 multiple layers of buoyant acoustic and majestic or choruses, lends the material a certain faceless a really similar vocabulary, as far as music goes. We electric guitars refl ect against O’Hearn’s dynamic quality. Jeff’s prosaic vocal delivery, while at times kind of draw from the same infl uences.” Moog bass and piano fl ourishes, Dean Baskerville’s sounding like Noel Gallagher, or Karl Wallinger, Crow and Trott crafted fourteen songs for keenly programmed drums. and Nancy Hess’ or John Lennon, lacks the distinctive vocal mag- her fi rst second and third, multi-platinum albums, ethereal vocal passages. A very well put together netism necessary to fully draw the listener into his SHERYL CROW and THE GLOBE SESSIONS, production. songs. There is a certain emotional ambivalence including the hits “Everyday Is A Winding Road,” A nice change of pace, “The Few That Remain” (or detachment, perhaps), which drains the pas- “If It Makes You Happy” and “My Favorite Mis- traces it’s course on Trott’s gently strummed acous- sion from his productions. They are beautiful and take.” In addition, Trott has performed as a guitarist tic guitar and plaintive string interludes. Simple, yet ornate pieces, but sometimes remote and sterile, and producer, working with the likes of latter-day sublime. Infectious guitars and Lars Fox’s groovy too. “Good Luck Club” and “Atomic Halo” stand Tears For Fears, Stevie Nicks, World Party, Pete drum loops give momentum to “Atomic Halo” as above the other songs. But it is unclear whether Droge, Jeremy Toback and Johnette Napolitano Jeff trots out a biting lyric. “There’s a makeshift this is because they are truly better compositions, of Concrete Blonde. superhuman atomic halo glowing over you/So or merely more effective productions. Here, Trott has enlisted the services of a host how can you be so lonely when you’re immortal.../ Those minor shortcomings aside, however, of local musicians to back him up: drummer Jeff You’ve got a tower of Babel rabble futuristic rain- this is destined to be one of the best local albums Anthony, who most recently has worked with Pepe bow with a pot of gold/Ninety thousand slaves of the year; destined too, to draw attention from and the Bottle Blondes and Julie Larson; and Keith are singing ‘Sweet Virginia’/ There’s a sound that the national music press, for its faultless execu- Schreiner of Dahlia (and Auditory Sculpture— see keeps on fl ashing in the back of your head, you tion and sheer musicality. It seems assured that Jeff below) who supplies electronic keyboard atmo- ignore it/ You say ‘why do I feel so empty when I’ve Trott will fi nd his own voice soon enough. Once he spherics. Other guests, including Gregg and got everything?’” Another satisfying production, discovers a means to communicate more honestly, Brent Williams, James Beaton (who worked perhaps vaguely reminiscent of T. Rex’s “Bang A more directly, to his audience, there is every reason with Everclear) on Wurlitzer and Hammond B-3 Gong.” to think that Jeff Trott could become a big star, in his own right. Merge— Auditory Sculpture Auditory Sculpture Music eith Schreiner is one busy young fellow. Besides releasing an album Keight months ago with Dahlia— his undertaking with vocalist Jennifer Folker; and con- tributing to Jeff Trott’s project (see above) in a big keyboards, Rob O’Hearn, Nancy Hess and China “No Substitute” rides on Trott’s pulsating way; he was also recruited by Sheryl Crow to bestow Forbes, among many others, make appearances as Wurlitzer piano phrases and Schreiner’s subtle upon her forthcoming project his specifi c genius as well. A true all-star cast. But the star of the show is electronic washes. A riveting guitar solo, seem- a keyboardist and sonic landscape architect. most defi nitely Jeff Trott and the album bears his ingly broadcast in from some other solar system, Ostensibly the fi fth release for the Auditory indelible mark as a writer and producer. nicely pulls together the entire song. Jeff’s version Sculpture wing of the Schreiner operation, this Among the ten songs presented here, one of of “Maybe That’s Something” benefi ts from Dave ambitious two-disc set purports to expose Keith’s which, “Maybe That’s Something,” fi rst appeared Revelli’s punchy drum work and a mantle of pris- hemispheric musical personalities, exploring the on Crow’s “The Globe Sessions” album, Trott tine guitars. Still, this take seems a bit sterile when duality of all things. Disc One, identifi ed as “RGE” demonstrates strong abilities as a musician on compared to Crow’s version, lacking her propensity (think: “URGE”) focuses upon dance beats, and an array of guitars and keyboards, as well as the for getting inside the lyric. percussion driven performances: obviously culled French horn, bass, mandolin and other sonic The dense environment of “Nevermind Me” from his experiences in the local club scene. effects. The cadre of guests provide strings, horns, calls to mind E. and the Eels in its thoughtful Ultimately the fi rst disc is a more linear listening backup vocals and a wide array of percussion and urgency; plodding meticulously, awash in moody experience. However, by the end of that disc, the other intangibles. sonic detail, including Derek Sims’ pensively muted softer more atmospheric material comes to the fore, The album leads off with “Walk A Cloud,” trumpet. Trott’s fi nger-picked acoustic guitar on presaging the second disc. a Beatlesesque number, replete with Gordon’s “Hard To Say” has it’s antecedents with John Len- Disc Two, entitled “Me,” is more of an ambient Ringo-like drumming, Jeff’s backwards guitar non’s “Julia,” while his solitary vocal track harkens musical affair, not so reliant upon hard-driving, and Schreiner’s swirling sub-surface keyboard to Lennon’s WALLS AND BRIDGES period in the club-oriented dance beats. There is an obvious effects. A pleasant chorus helps to offset a couple of mid-’70s. A long, lush fadeout completes the song thread which runs through the fabric of both somewhat jarring edits. Oasis and Karl Wallinger of and the album. recordings ( each more or less an hour long), that World Party come to mind on “Cosmonaut” where As a production, this album is fl awless. Every being Schreiner’s singularly visual approach to a melange of buff guitars play against chiming B-3 instrument— every sound— on every song is his musical inventions. He creates not only tones, pads and jangling mandolin, as Trott sings over the meticulously placed and exquisitely rendered. Jeff but shapes and textures around the tones. Those top, in a somewhat non-descript fashion. Trott is a consummate musician/technician, whose sculpted tones are not static, but evolve, transform An impeccable guitar fi gure plays against Lars ears should be insured for a billion dollars. Most and transfuse in a very unique sort of musical ani- Fox’s drum loops and Beaton’s burbling B-3 on certainly his status and reputation in the music mation. Cartoons for the ears. “Dalai Lama,” a curious song, which features the industry are hard-earned and well-deserved. Continued on page 24

Page 10 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 11 photo Michael Moran

Page 10 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 11 porary trends in pop music, considering that that’s where it all started. Norman Sylvester/Pan Gypsy drummer Ashbolt sends an open invite to all as he is hosting what sounds like a pretty cool Sunday night jam session at the Medicine Hat on N.E. Nineteenth and Alberta. Ash’s better half, cute Susan will be laying out the bass lines to start the night, and many local top celebrities and riff monsters are sure to appear as this nine to one a.m. bean buster becomes known in this musician rich metropolis. I played the kickoff event for the Bite last month and from what promoter Clay Fuller says, this year’s event is going to “DIE JOB” plays Conan’s April 27th ies, a blues club located some where near bigger and longer than in the past. Bella check these guys out! This band features N.E. Albina and Lombard. I know Huck Fleck and top steel drummer Andy Nar- Shandies kit man drummer Billy Brahm from his Gravel Pit days and his quasi- rell are among the possibles this year, but who describes their sound as “Old School retro funkadelic mixed bag home jam ses- many other acts will be listed when it’s all Punk” but really loud!?. Billy saunters through poor man’s Laurelhurst on the world’s coolest bike offering bits of music trivia and wisdom from behind his signa- ture Buddy Holly style glasses and Beatle hat. We all like to think of him as our own resident Ringo. Speaking of fashion, I noticed Pink Martini dude (Thomas Lauderdale) strolling along the avenue wearing a straw colored suit with red trim and matching sions held in a nice and sweaty basement fi nalized later in the year. peroxide hair. He sort of reminds me of studio located in beautiful and “Chicago I gotta run now I’m in the middle a vintage tweed bassman amp with legs like” north Portland Oregon. It’s nice to of tuning my tenor bass steel drums for but obviously I’m trying to work off mas- see that some Portland area musicians are this years Bossa Boys run around the sive record sales jealousy by northwest, but before I taking a shameless cheap go I’d like to congratulate shot at Portland’s most suc- Spigot for their success in cessful musician composer getting invited to Paris and bandleader. (Pink Mar- this spring to play FIMU. tini with steel drum?). Bassist Kevin Anderson I heard an interesting tells me all is great with recording over the phone Spigot, as well as his own last week; apparently Big multi-purpose band One Island Shindig has been Too Many which landed working hard on some a coveted rent payer great new material along Wilsonville Holiday Inn the lines of String Cheese cover gig which is part Incident but better. If you’re of the reason Kevin can interested focus on original music In hearing more about and that’s what I call these cats and upcoming playing the music game performance dates and to win! locations stop into one of Let me leave you Portland’s more unique with a quote I overheard and still family owned music at a session I to went stores’ Day Music, located on friendly Denny plays the Bite kickoff VIP bash. recently, “Sometimes it Foster boulevard, talk to Nathan. fl ows, sometimes it blows! Take Care! Well loved Portland south-paw smart enough to enjoy and experiment bassman John Hucksfelt tells me he is with blues and funk as well as contem- taking over the booking duties for Book- LL

Page 12 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 13 An Unreel World DeFunk Audio/Sonare Lake Oswego Mastering (503)639-9364 4531 N. Albina Street Email: [email protected] Portland, Oregon 97217 Owner: Karin Kopp (503) 288-3353 Email: [email protected] Anonymous Noise Owner/Engineer: Sean (503)248-2136 Gilbert Owner: Karl Brummer Doctor Digital; The Sync Apache Recording Studios Ward Studios 4009 E. 18th St. Portland, OR Vancouver, WA 98661 (503) 892-0043, 1-888- Vancouver phone: (360) 694-5381 373-4485 Portland office: (503) 293-9266 Email: [email protected] Big Red Studio Owner: Mark Frethem Phone/Fax: (503) 695-3420 E-Mail: [email protected] Don Ross Productions Web: www.bigredstudio.com 3097 Floral Hill Drive KAT, Alesis D4, Pre CBS Fender Billy Oskay: owner, producer, and Eugene, OR 97403 Super Reverb, Zoom 9050, JVC CR- Mike Spitz ATR 100 1/2” Master- engineer. (541) 343-2692 Fax: (541) 683-1943 85OU 3/4” video deck w/SMPTE ing deck, Tascam DA 45R 24 bit Email: [email protected] address trk., Sony video monitors Dat Machine, Panasonic 3800 Bill Scream Music www.donrossproductions.com 13” & 20”, Fostex 4010 SMPTE, Dat machine, Dennon cd player, 2115 N. Vancouver Avenue Owner/Engineer: Don Ross Symetrix TI-101 phone patch, Telos Dennon cassette decks, Mytek Portland, OR 97277 Tracks: 32 track Digital, 24 track Zepher ISDN patch & a Braun10 digital Mastering meter, Z-Systems (503)284-9494 Analog cup coffee maker. 16 i/o digital router. Email:[email protected] Rates: $70.00-$85.00 Clients: Sony, Disney, PBS, Mason Clients: Sony, Loosegrove, Sub Pop, Owner: Bill Scream Equipment: Otari MTR90 II 24 Williams, Beth Singer, Justin Astralwerks, FT Records, Resistor, Equipment includes: Yamaha O2R track 2‰ Analog, Digidesign Pro King, Sugar Beets, Paul Chasman, Shortwave Records, Estrus, Elemen- console, 16 tracks ADAT, 8-track Tools Mix + w/ 3-888 24 I/O‚s, SSD, Byron Berline, Strangers, Multiple tal, T/K Records, Top Secret, Darla, Protools, MOTU Digital Performer Waves gold bundle, Bomb Fac- Sarcasm, Betmars, Babe‚s with Axes, Rain Records, Burnside Records, MIDI sequencer, Akai Samplers, tory, Meek & many other plug ins, Terry Robb, David Jacobs-Strain, Jus’ Family Records, Bombay Emu & Roland Synthesizers, Vin- 24 trk. Tascam DA-88‚s- mods by T.R. Kelley, Debbie Diedrich, Boogie Records, M.A.H. Records, Empty tage Keys, Outboard processing. Audio Upgrades w/RC 848, SY88 Patrol, Tracy Bonham & many Records, Dohnut Records, Rain- & IF88AE, Tascam DA30 MkII, more-check out web site music forest Records, Cool Nutz, Satan’s Blue Dog Recording Fostex D-10 Time code DAT,Tascam client list at www.donrossproducti Pilgrims, Jesus Presley, Silkenseed, 1314 NW Irving CD-RW5000 CD recorder, Revox ons.com. Chata Addy, Gino Vanelli, Land of Portland, OR 97209 PR-99 MkII & B77 1/2 track the Blind, Ken De Rouchie Band, (503) 295-2712 analogs; Tascam M-3700 32x8 auto- Falcon Recording Studios Hungry Mob, Life Savas, Live at Email:[email protected] mated console w/mods by Audio 15A S.E. 15th Laurelthirst, Izaya, Heavy Johnson Web:www.bluedogrecording.com Upgrades; Genelec 1031,Tannoy Portland, OR 97223 Trio, Daylights, Hummingfish, Owner: Bruce Robertson NFM 8, Yamaha NS-10, & Aura- (503) 236-3856 Kerosene Dream, Loveload, Jol- tone 5C monitors; Aiwa, & Tascam Fax: (503) 236-0266 lymon, Gus Van Sant, Systemwide, Ronn Chick Recording cassette decks; Lexicon PCM 80, TC Email: [email protected] Grindstone,Floater, Country- 1209 NW 86th Circle M2000 LXP-1‚s, LXP-5‚s w/MRC Contact: Dennis Carter. politans, Here Comes Everybody, Vancouver, Washington 98665 & Yamaha SPX90‚s reverb/delays; Mel, E-40, Sally Harmon, Rattling (360) 571-0200 Manley ELOP, Manley Vari-Mu, Freq. Mastering Thunder, Dickel Bros, D.B.A., Ras Owner/Engineer: Ron Chick Aphex 661‚s,106, & 720 Dominator 1624 SW. ALDER #311 Kass, Kurrupt, B-Legit and many, II, Drawmer DL24, Ashly SC-50 PDX, OR. 97205 many, more. Dave’s Attic Productions comp/limiters; BSS DPR-504 & (503) 222.9444 (Please check out our website for a Washington Square Area Aphex 105 Noise Gates; Aphex Web: www.freqmastering.com more complete list). Portland, OR Aural Exciter, Aphex 109 & Syme- Portland’s Pro Mastering Studio (503) 768-9336 trix SX201 parametric EQ‚s; Avalon Contact: Ryan Foster Fresh Tracks Studio Owner: David Fleschner 737SP‚s, Millennia HV-3C, Neve Equipment: Sadie Artemis 24/96 Southeast Portland 1272‚s (4), Peavy VMP-2, Gaines Mastering System, DCS904 24 (503) 235-7402 Dead Aunt Thelma’s Studio MP-2 mic pre‚s. Mic‚s: Neumann bit A/D & DCS954 24bit D/A Email: [email protected] PO Box 82222 U87‚s (mods by Klaus Heyne), both 192KHZ & DSD capable, Web: www.freshtracksstudio.com Portland, OR 97282-0222 KM84‚s(mods by Kaus Heyne), Apogee1000 A/D & D/A, Cranesong Owners: Jon Lindahl (503) 235-9693 p Lawson L-47MP tube, AKG 460‚s, Hedd 24 bit A/D &D/A , GML 9500 Engineers: Jon Lindahl and free- (503)238-9627 f 451‚s, Sennheiser MD 421, EV 5 band Mastering EQ, Weiss EQ1 lance engineers. Web: www.thelmas.com RE20, 408B‚s, Shure SM7‚s, SM53‚s, MK2 digital 7 band parametric, Tracks: 32, 24, 16, & 8 ( 24 traks Studio Manager: Mike Moore & 57‚s. Other Important Stuff: 1927 Manley Vari-mu stereo compres- hard disk) 16 tracks of digital & 16 Office Manager: Nicole Campbell Steinway M grand piano, Kurzweil sor, Weiss DS1 digital split band tracks of analog) Owners: OCP Publications PC88 MX, Ensoniq EPS, Opcode dynamics processor, Maselec stereo Rates: $40 for 32 track, $35 for 24 Studio 3, JL Cooper PPS-100, dk10 compressor, Genelec monitors, Continued on page 14

Page 12 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 13 Haywire Recording Southeast Portland P.O. Box 66381 PDX OR 97290 503-775-7795 Email: [email protected]

Continued from page 13 Intersect Sound, Inc. Portland, Oregon track, $30 for 16 track, & $25 for 8 503-649-7741 track. E-mail: [email protected] Equipment: 2 each XT Alesis Web address: www.geocities.com/ ADATS, Analog 1” MS-16, Hard intersectsound Disc, Cubase w/Mark of the Uni- Owner/Engineer: Bill M. Cushman corn 2408 (Multi Track recorder/ Intersect Sound Inc. specializes automation/remastering), All in PA System Rentals for festivals, synced via JL Cooper Syncronizer, small bars & clubs, civic functions, Que CD Burner @ 16X write speed, church & community events, pri- 24x8x2 Soundcraft Mixing Console, vate parties & dances, & DJ shows. Tascam 80-8 1/2 “(analog) , ART ISI also provides live sound produc- MPA dual tube mic pre-amp,DBX tion, recording and mastering with 266 Dual Compresor/Gate,DBX, post-production and studio work. 160x, DBX 163x Compressor, Sound Engineers are available. Dbx163 Compressor, Biamp Quad Rates: PA System rent- Limiter/Gate, DBX 463x Gate, als go out as a unit, engineer Yamaha 31-band EQ, Biamp Dual included—see website or, contact 10-band EQ, Rockman Guitar [email protected] or preamp, Rockman Stereo Delay/ phone 503.649-7741 anytime for Chorus, Roland SRV Reverb, voice mail. Or between 1:00 pm and Roland SDE 1000 Delay, Art SGE 6.30 p.m. to speak to a person. Mach 2 Effects Processor, Alesis For Live Sound recording: 1-2 Alesis Midi Verb, BBE 802 Exciter,JBL Adats are available. The tracks are 4311 Monitors, Auratone Monitors, then mixed down and mastered to KLH Monitors, Panasonic 3700 DAT. The turnaround time is usu- Mastering Machine, Otari Analog ally two weeks and the cost starts 1/2 Track Mastering machine; at $200.00 for the whole package. wide selection of mics: (AKG, I also do studio work (subject to RODE, SENHEISER, E.V., SHURE, availability) at the rate of $20.00 per BYER, AUDIO TECHNICA) MIDI hour. EQUIPMENT: Mac G-4 w/CUBASE Equipment: For PA System Rentals: 5.0 Atari 1040 ST, Proteus 1 Sound For example PA system “A” consists Module, Yamaha TG100 Sound of the following: Console: Sound- Module, Zoom 123 Drum Machine, craft Spirit 16x4: Signal processing: ESQ-1 Keyboard, Casio Midi Guitar Yamaha Rev-7, Midiverb 3, BBE Clients: Greg Baker, Sid Brown, sonic maximizer 322, Aphex aural Bobby Daltry, Jodie York, Paul exiter type B, 2 Alesis 3630 dual Bermen, Ralph Archenhold, Julie compressor/gates, JBl m644 4 chan- McClusky, GJ Rose, Vivian’s Keeper, nel gate, DBX 1231 dual 31 band LaRai, Money&Lovin, Sentient, 1/3rd octave eq, 2 Alesis Meq 230 John Myers, Lodown, Peter dual 31 band octave eq, Fender pcn- Dammon, John Hoffman, Pud- 4 stereo 3 way cross-over. Speakers: ding River Bluegrass Band, Steve 2 JBL active mid-hi packs, (l 15” & 1 Rudeen, Stirling Wolf, Al Pasque, 2”: driver with 1” horn each) 2 JBL Marc Hansen, Les Ouvier du Christ, active subs, (2 15’s, front firing & Grafton Street, Enuf, Chutzpa, Dead ported each), 4 floor wedge moni- Roses, Dana Libonoti, John Lansing, tors, (1 15” & 1 2” driver with 1” Truculence, James Kinney, Christine horn each), 1 Yamaha drum fill, (1 Young, John Gilmore, and Stuart 15” & 1 “ driver with 2” CD horn), Wyan Trio. Microphones: 4 Shure sm 58, 6 Shure sm57, 4 Audio technica pro Gung Ho Studios 10, 1 Audio technica pro 25, 1 Shure 86821 McMorott Lane beta 58. Amps used include: Crest, Eugene, Oregon 97402 Crown, Yamaha, SLM-RMA series (541) 484-9352 & Yorkville AP series. (depending Owner: Bill Barnett on system configuration and power

Page 14 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 15 demands) Miscellaneous: 4 ISI di Expansion; D-Fi: Lo-fi, Sci-fi, boxes 1, Lawrence accoustic guitar Recti-fi, and Vari-fi; D-FX: D-verb, pickup, Fender m-80 pro guitar Flanger, Multi-tap Delay, Ping-pong amp w/4-12” cabinet, Big muff II Delay, and Chorus; Focusrite D2 Distortion Pedal, MXR distortion EQ and D3 Compressor; Metic pedal, Digitech “talker” voice-synth Halo Channel Strip SP; Digidesign pedal. Maxim Clients include: Dfive9, Hell Mastering Compressor; Speed Candidates, Jen Lane of Barfly by Wave Mechanics; and Antares Magazine, Tillamook County Fair AutoTune. in association with Starshine Sound, Mixers: Yamaha O1V digital mixer, Rorschach Test, Stage Phryte, The 24-channels, with optical interface Natrons, Witch Mountain and many card other locals. and 2 built-in stereo effects proces- Other: Bill Cushman is House sors; Mackie 1402-VLZ, 14-chan- Engineer at Club Satyricon and he nel analog mixer for sub-mixes. invites you to come in and say hello. MIDI/Synths: Roland JV-1080 synth As owner of Intersect Sound, he module, with guarantees reasonable rates, profes- Hip-Hop and Bass & Drums sional service and well maintained expansion cards; Alesis SR-16 drum gear—delivered, operational and machine; Casio CTK-611 key- on time! board controller...more than 2000 sounds to choose from. Monitors/ Jackpot! Recording Studio Amplification: Roland DS50-A 1925 SE Morrison powered digital reference monitors, Portland, OR 97293 JFE monitors in stereo & mono (503) 239-5389 with Pioneer amp; Cerwin-Vega [email protected] and Audio Centron mains; QSC www.tapeop.com 900 power amp; (2) Sony MDRV- Owner: Larry Crane 700 headphones; (2) AKG K240M headphones; Rolls RA53 headphone J.A.S. Recording amp. Rack stuff: Joe Meek VC1Q P.O. Box 884 studio channel (mic pre, compres- Beaverton, OR 97075 sor, EQ, enhancer); Joe Meek VC3Q (503) 274-2833 channel Owner: Andy Strike strip (mic pre, compressor, EQ); Aphex 107 dual channel tube- KAOS Recording, Mastering & CDR essence mic Duplication pre, DBX 1066 dual compressor/ Portland, OR limiter/gate, Rolls RBD104 quad (503) 287-5066 active direct Owner: John Belluzzi box, Neutrik patch bays. Micro- phones: Rode NTK tube condenser, The Lavender Lab Rode NT-1 Recording & Graphic Design condenser, (2) AKG C100S con- SE Portland (near39th and Powell) densers, AKG D112, (3) Audio Tech- (503) 539-4287 nica ATM-25 dynamics, (3) Sure Email: [email protected] SM57, Sure SM58, Sure Beta57-A, Owner/engineer/producer: Laven- (2) boundary mic’s, (2) der Tommy ancient mic’s, one mono & one Tracks: 24 tracks of 24-bit digital stereo, for unusual sounds/effects, audio. and a homemade mic for those fat, Equipment: Pro Tools LE 5.1.1. soft- fat low end sounds. 2-Track Record- ware and DIGI001 24-bit interface ers: Sony with 16 I/O, running on a 1.1 GHz PCM-R300 DAT; Sony TC-635 Athlon AMD with 640MB of RAM dual-record cassette deck; 8x CD and 40GB of hard drive space. Plug writer. Ins: BombFactory Classic Com- Intruments/Amps/Extras: Fender pressors (1176 & LA-2A), Mooger- Jaguar re-issue; Ibanez GSR200 Fooger Lowpass and Ring Modula- bass; Squier JagMaster guitar; tor, SansAmp PSA-1, Voce Spin, and Tacoma DR12 rosewood acoustic Voce Chorus & Vibrato; DigiRack: guitar with Fishman Compressor, Limiter, Gate, humbucker; Fender HotRod Deville Expander-Gate, De-esser, 1 and 4x10 combo guitar amp; Marshall 4-band EQ, Delay, Gain, Reverse, Valvestate 8040 amp; Ampeg SVT Pitch Shift, and TimeCompression/ 4x10 bass cabinet; BagEnd 1x15 Continued on page 18

Page 14 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 15 The bitch is back. Saturday the action moves over to the Meredith Brooks gets her picture in Blackbird on 37th & Sandy with The Bella Billboard again. (4/6) The page 8 photo Fayes and A.C. Cotton paying tribute to the caption reads: “Singer/songwriter Meredith Siren team. Brooks has signed with Gold Circle Records. Siren Music Company is now Her fi rst album with the label, Bad Bad One, owned and operated by December Carson will be released May 21. Brooks, pictured who acts as personal manager for The with Gold Circle President/CEO Rob Caleb Klauder Band, Foghorn Leghorn Dillman, left, and Gold Circle senior VP/GM and Richmond Fontaine. Eric Mayers is Tom Gordon, right, says the title represents personal manager of Jerry Joseph and The the ‘fearless creativity” she tapped into while Jackmormons another Siren act. recording the set.” Siren also performs industry They’re always talking about Meredith services for Amelia, Ashliegh Flynn, Boom in Billboard. Two weeks ago (3/23) in Fred Bap Project, Calobo, Casey Neill, David Bronson’s Chart Beat column, writing about Andrews, Flat Mountain Girls, Freedom Australian solo female artist Kylie Minogue, Funk Ensemble and Mr. Rosewater. Fred referenced Meredith Brooks as “another Aussie female on Capitol”. Next week Fred ©©© allowed as how he meant Merril Bainbridge, Why the Billboard subscription is because, obviously, Meredith Brooks was worth the money: “born in Oregon”. “Imagine an industry that has As long as they spell the name correctly, allocated (and mostly spent) more than $4 right? billion in funds on ventures that have thus far made back less than $1 million-globally.” ©©© Timothy White on the business track Hollywood scribes better learn how to record of Internet music. spell Lael Alderman because the Bella Fayes White’s editorial (3/2) “The Music are coming to the Viper Room, Thursday, Industry’s Web Of Intrigue” lambasted April 11th headlining an ASCAP new talent “myopic technologists and greedy software showcase. manufacturers” for soaking up music The performing rights society’s industry money better spent to “sign, market guest list includes the cream of tinsel town and distribute serious artists”. talent buyers. The Bella Fayes contributed “Somehow, it’s easy for corporations to the breakout track “White Noise” to ASCAP’s fi nd $4 billion for murky digital goose chases recent AMPT compilation CD. but hard for them to accept the basic cost of doing business.” ©©© “If one creator/copyright holder seeking Lael says Happy Birthday Siren… legitimate protection and compensation for Fours years is forever in the music his or her music cannot prevail against an business and maintaining a good reputation array of high-handed holding companies handling talent for that long isn’t easy. seeking to avoid fair play and honest The Siren Music Company, a music obligations, we are facing a threat to our booking, publicity and management fi rm social democracy that will equal or surpass founded by publicist December Carson the industry meltdown we may yet invite.” and booking agent Eric Mayers in 1997 is Gimme an A-men… celebrating four years of operation with two days of shows featuring acts from their impressive artist roster. ©©© Friday, April 5th at Berbati’s Pan, Love is a battlefi eld. Siren presents the Decemberists, Caleb That was the headline for the Billy Gibbons passes on the Lab Series. Klauder Band and Richmond Fontaine. cheesecake Courtney Love “think piece” in Entertainment Weekly March 29th. Page 16 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 17 Courtney is hot news because of her Magnetophon propaganda machine to Bing lawsuit with the Universal Music Group Crosby, who fronted Ampex $50,000 to and escalating feud with remaining Nirvana adapt it, creating the fi rst tape recorders. Les band members. Courtney was originally Paul invented reverb, overdubbing, sound on signed to Geffen, Nirvana’s label. Through sound and multitrack recording. He turned a series of buyouts and mergers Geffen was Colleen Summers into singing star Mary absorbed into UMG putting Hole under Ford. Interscope’s control. Angry over the lack Les Paul is recognized as the father of of promotion on Celebrity Skin in ’98, she the electric guitar and principal architect of informed the label she would not record modern sound recording. another CD. In January 2000 UMG fi led a I think his only big loser was the Lab lawsuit seeking damages for fi ve undelivered Series… albums. Courtney counter sued 13 months In the late 70’s, Gibson and Moog later. teamed up to create an amplifi er line. Gibson “In September 2001, she sued Nirvana’s had never quite made a unit accepted by the surviving members-Dave Grohl and Krist rockers and the corporation that owned Novoselic-to break up the limited-liability both companies thought if they put their corporation they’d formed with her in fi gureheads together, magic could happen. 1997, which made them equal partners It sounds great. in the lucrative Nirvana business. Love The father of electronic music Bob wants complete control of the catalog and Moog meets the father of the electric guitar makes the claim that ‘her judgment was Les Paul to create the next generation of signifi cantly impaired’ at the time she signed musical instrument amplifi er. the contract.” The Lab Series. “The Nirvana catalog is now with UMG- As history unfolded, the high point for the very company Love is suing to break her Bob and Les’ amp line probably came when personal recording contract. Critics feel that the Lab Series was featured exclusively in the Love is using the catalog as leverage for an Peter Frampton- Bee Gees big budget fi lm even better record deal for herself, and that interpretation of the Beatles classic album her stance of wanting to free artists from a Sgt Pepper’s Lonely Hearts Club Band. kind of indentured servitude through her Boy did that look good on paper. suit against UMG is just convenience.” In the EW story Courtney’s boyfriend, ©©© manager and former Geffen executive Jim Billy Gibbons of ZZ Top invited the Barber says “In reality, Nirvana was closer Lab Series minions to Texas but eventually to being Tom Petty & The Heartbreakers passed to create his own line of Rio Grande or Bruce Springsteen & the E Street Band. Amps with the artful palm tree logo. If Springsteen died tomorrow, should Max Has Mr. Gibbons ever made a wrong Weinberg have an equal say as to how his career move? catalog is promoted and marketed? Joe Galante, chairman of RCA Nashville, EW touched early on Courtney’s and Mister Gibbons label honcho, doesn’t Oregon roots recounting her self-described think so. To honor the 30-year career of “that days as a “street kid in Portland, sleeping on little ol’ band from Texas” chairman Galante the fl oor” at the Metropolis. has scheduled a unique fusion release. “Sharp Dressed Men: A Tribute To ZZ ©©© Top” featuring 15 of country music’s hottest Les is more. male recording artists” performing newly June 9th is Les Paul’s 87th birthday. No recorded versions of ZZ Top classics. photo Buko other musician has had such a profound Total crossover potential. Billy Gibbons passes on the Lab Series. impact on the popular music industry. Les Paul is the guy who brought Continued on page 28 Colonel Ranger’s captured German Page 16 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 17 (alt pop), Kym’s Choice (punk Software Version: 5.3, Audio Hard II, Sync DA death metal), and Jill Urbina Drives: 306 gigabytes, Computer: Data Back-up: Exabyte: EXB- (acoustic pop). Macintosh G4 800 w/dual moni- 8700LT 8mm tors (cinema display and 20” VGA), CD Recorder: Plextor 8/2/20 Lion’s Roehr Studio RAM.: 1,256 megabytes Monitors: Meyer Sound HD-1 High 5613 S.E. 69th AD/DA: Cranesong: HEDD (Har- Definition Audio Monitors Portland, OR 97206 monically Enhanced DIgital Device) Metering: Metric Halo Labs: Spec- (503) 771-8384 24 bit AD/DA converter, Digidesign: traFoo - Waves: PAZ Pscychoacous- Email: [email protected] 888/24 24 bit AD/DA converter, tic Analyzer Continued from page 15 Owner: Mike Roehr Waves: L2 Ultramaximizer 24 bit 2 Track Players/Recorders: Tascam: bass cabinet; Line 6 guitar POD and AD/DA converter DA-45HR-24 Bit DAT, DA-30 MKII bass POD; Hammond M-3 organ; Nettleingham Audio Analog Processing: GML 8200 DAT, CDR2000 – CD Recorder/ Boss 888-261-5086 / 360-696-5999 Parametric Equalizer, Cranesong: Rewriter Marantz: PMD-321 CD footpedals: delay, distortion, fuzz Vancouver, WA STC-8 Discreet Class A Compres- with AES and SPDIF outputs distortion, flanger, digital dimen- (just minutes from downtown sor Limiter, Empirical Labs 2 x - Nakamichi MR-2 sion, PDX) Distressors with British Mod, Mic Cassette, Vestax: BDT-2500 Turn- and the old 3-knob phaser; MXR Internet: http://www.nettleingham Preamps: Cranesong: Flamingo 2 table flanger; Sovtek Big Muff; and a audio.com channel Discreet Class A mic pre, Microphones: Soundelux: 2 x CryBaby Email: [email protected] Focusrite; Red One 4 channel mic U95S - Microtech Gefell: UMT 70S wah-wah. om pre, Summit; TPA-200A Dual Tube -, Royer: 2 x R-21 - Neumann: 2 x Clients: Blue Turns White (heavy Services: CD Mastering, Audio mic pre, Night Pro; PreQ3 4 Chan- KM-184 - AKG: D12e -, Sennheiser: emo rock), Kassino, Knameless & Restoration, CD Replication & short nel mic pre 3 x 421, 441 - ADK: 2 x A51s - Knowledge runs, graphic design, editing, etc… Digital Processing: Cedar: De- Shure: 2 x SM-57, SM-7 (rap), Matt Burlin (jazzy acous- Specialties: CD Mastering/ clicker, De-crackler, De-hisser, De- A Few Of My Clients: Oregon Sym- tic), Keyjon (R&B), Kate White Restoraton/Short-Run CDs buzzer, Waves: L2 Ultramaximizer, phony • Obo Addy • Swingline Cubs (acoustic), Engineer: Kevin Nettleingham Platinum Bundle, DigiDesign; • Alfredo Muro • Lew Jones • Benny Ronnie Cooper (synth pop/R&B), Tracks: 128 Track Digital Hard Disk ReverbOne, Serato; Pitch-n-Time Wilson • Norman Sylvester • Allan Clay Ashes (rock), FA-10 (thrash Rates: $50.00 per hour / 100 CDs 2, Antares: Autotune 3.0, Line 6: Charing • Indigene • Mel • Perfect metal), - $235 AmpFarm in Plastic • Randy Porter • Headless Joaquin Lopez (synth pop), The Equipment: Digital Audio Worksta- Digital Routing: Z-Systems: 16x16 Human Clones • Slackjaw • Moth- Jack Lewis Project (acoustic), Aja tion: Digidesign Pro Tools | HD3 AES Digital Detangler Pro er’s Choice • Trophy Wife • The Cow Volkman 24 bit & sample rates up to 192kHz, Syncronization: Aardvark: AardSync Trippers • Blyss • 31 Knots • Starter

Page 18 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 19 Kit • The Jimmies • iknowkungfu • that only hard drive recording Feller • DFiVE9 • Gruesome Galore can provide. Perfect for inexpen- • Flying Heart Records • Ave. of the sive, great sounding demos or for Photography & Graphic Design Strongest • Engorged • Logoseye budgeting the kind of time it takes • 44 Long • Headscope • Pacifi c to complete a fully produced fi nal Wonderland • Thy Infernal • Renato product. Check out our website at Caranto • The Bassoon Brothers & www.nomovingparts.com for more a lot more! info. Clients: Redline6, Hot Boxed, No Moving Parts Fallen Short, Speedway Playboys, S.E. Portland (near Laurelhurst) Peer Pressure Records, No Evil (503) 234-6410 Star, Omnibox, Lucid, Vasikate, Web: www.nomovingparts.com Iknowkungfu, Brenda French, Rick Owners: Mark/Michele Kaeder, Anderson, ChanneLight, Sweet- 503/282-1682 Justin McCarthy Juice, The Automatics , The Blue Engineer/Producers: Mark Kaeder, Ribbon Boys, Heywood, Creepy www.buko.net Justin McCarthy Old Trucks, recording and editing Tracks: 32 I/O Harddisk Recording for the independent fi lm Breach Of Equipment: Recording: Alesis X2 Etiquette, Commercial sountracking Macintosh Consulting Recording console (24x8 ,64 sources for Outdoor Animation and sound Web Design at mixdown full parametric eq on effects and background music for Digital Photography all channels), Yamaha O1V Digital Colorado Time Systems sports Mixer, Sony A7 DAT Recorder, reader boards. Creamw@re Tdat-16 hard drive recorder with Firewalkers DSP and Northstar Recording Osirus audio restoration software 13716 S.E. Ramona (running on an AMD Athlon 800P2 Portland, OR 97236 with 512 megs of ram and 80 gigs of (503) 760-7777 Fax: (503) 760-4342 storage), Creamw@re Pulsar 96/24 Web: http:// MacProActive DSP, Synthesis, Mixing platform www.northstarsamples.com Chris Palmer with Logic Audio Platinum MIDI Owners: Scott James Hybl, Curt 503.235.7195 sequencing and HDR software.(too Cassingham [email protected] many other audio programs to http://www.macproactive.com list) , Outboard: Lexicon MPX-1 On Site Audio multieffects processer, ART Pro A Diamond “Z” Records Company MPA tube mic pre, ART Pro VLA 16016 Lower Boones Ferry Road, optical tube compressor, DBX 1066 Suite 5 stereo compressor/limiter/gate, Lake Oswego, Oregon 97035 Line6 Guitar Pod Processor, Line6 (503) 675-1670 Bass Pod Processor, DBX Quantum (503) 635-7335 Fax# Mastering Compressor. Email: [email protected] Monitors: Genelec 1029A biamp Contact: Steve Landsberg monitoring system w/sub , Event 20/20 bas active refrence moni- Opal Studio tors, Mackie HR824 reference 6219 S.E. Powell ����������������� monitors, Yamaha NS-10 reference Portland, OR. 97206 �������������������� monitors. Synthesis: Roland XP-80 503-774-4310 MIDI workstation , Ensoniq ASR-X 503-777-5214 fax ��������������������� ����������������� sampler ,Alesis D-4 MIDI drums. Email: [email protected] ��������������� Condenser mics: Soundeluxe U-95 Web: www.opal-studio.com multipattern tube mic , Rode NT-2 Owner: Kevin Hahn , Rode NT-1 (2), Audio Technica Engineer/Producers: Kevin Hahn, ,ATM35, AT-851a, AT-4041(2). Car- Vince Tognetti, Chris Stevens. diod Dynamics: EV PL-10, Shure Rates: $40/hour, block $35/hour, Beta 52, E.V. ND-868, ND-367 , project $30/hour. Peavey PVM22 (2) , Cad 22 (2). Equipment: Yamaha O2R digital Misc: Sony Spressa 8x CD Writer. mixing console, Tascam TM-D1000 AKG and SONY headphones, digital mixer, 32 tracks of Alesis Samson Headphone amp (2) , SWR HD24 & XT20, Panasonic SV3800 Bass amp with Eden 4x10 cabinet. dat recorder,Tascam DA-30, Alesis Notes: No Moving Parts is a Masterlink, Tascam 302 dual cass. comfortable, low cost recording deck Marantz 615 CD recorder, environment with a friendly and Marantz PDM 320 CD player, knowledgeable staff. Providing Microboards StartREC 400multiple exceptional sound quality with CD recorder, Manley U5,Focusrite the kind of speed and fl exibility R8 dual mic preamps, Drawmer Continued on page 20

Page 18 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 19 distribution, web site design Specialties: Cheap audio demo recording- we aren’t satisfied if you aren’t! Great sounding drums, free producer, good location, sofas, magazines. Engineer: David Pollock (the one to talk to) Continued from page 19 Tracks: 12 Track Digital Hard Disk Equipment: Akai DPS12 12-track 1960 dual tube mic preamps/ digital hard disk recorder, CAD compressors, TLA PA-5001 quad vocal condenser mics, Alesis effects tube mic preamps, Joe meek VC3 processors, Premier Astria XPK (2) mic preamp/compressors, ART drum kit, REMO Legero drum set, PRO MPA dual tube mic preamps, E-MU Proteus 2000 sound module, Eventide H3000 effects, Lexicon Avlex, CAD, Peavey instrument LXP-15 effects, Yamaha SPX-90 mics, CAD drum mics, Epiphone/ effects, Yamaha O2R (2) effects, Gibson Les Paul electric guitars, Aphex Compellor, Symetrix 425 Hamer electric guitars, Fender compressors Yamaha GC2020B electric guitars, Fender acoustic gui- compressors, Yamaha O2R dynam- tars, Fender basses, Peavey RQ-200 ics processors Drawmer MX30 mixer, ZOOM guitar effects/ proces- compressor/limiter/gate, Vesta Koza sors, Danelectro, DOD, Marshall, digital delay, Aphex aural exciter... Dunlop guitar effects, Nady wireless Monitors: Sundholm SL8.0 moni- instrument systems, AIWA moni- tors (2 pairs), Genelec 1029A w/sub tors, AIWA power amps, Cakewalk monitors Yamaha NS-10 monitors, Pro Studio software Auratone monitors Hafler P4000, Monitors: Alesis M1 Active Powered P3000 power amps Monitors Microphones: Neumann U87 (2), Computers: Apple iMac, G3 400 Audio Technica 4033, 4050, 4051 MHZ processor 192 megabytes AKG 414 B-ULS mic, AKG D112 RAM; Apple Power Macintosh G4, (2) mics ADK tube, Audix D1, D2, 400 MHZ G4 processor, 256 mega- D3 (2), OM5 Shure 57 (4), 58, EV bytes RAM. ND757a Analog-Digital/Digital-Analog Others: Sonar XL, Steinberg Wave Converters: Griffin iMic USB audio lab 3.0, , M Audio 1010 24/96k, converter Roland XV3080,Roland 303 groove- CD Recorder: Yamaha 2100 16x box, Alesis D4, Ensoniq TS-12 record 10x re-write 40x read keyboard, Fender Strat, 5-string Mastering Decks: DAT recorder, bass, Tele custom, Gibson Les Paul, Apple iMac, AIWA tape deck. mandolin, Marshall, Fender Deville, Line 6 POD, Mesa Boogie V-2, Pro-Arts Productions Crate... 1350 Chambers Street Clients: Kerosene Dream, Jollymon, Eugene, OR 97402 Stephanie Schniederman, Deen (541) 345-9918 Castronova, Mad Hattie, The Red Owner: Tony Proveaux Sector, Triple Double, Shrapnel Records, Shortwave Records, Albert Pushy Jew Productions Reda, Ennis in Theory.... N.E. Portland (503) 288-9279 Pacific Records Email: [email protected] The Place to Record Your Demo! Owner/ Engineer: Ken Goldstein 503-775-2530 Portland, OR R Studio (just minutes from anywhere in (503) 285-9168 Portland) Owner: Gregg Whitehead E-mail: [email protected] Web: www.pacificrecords.net Rainbow Recording Rates: $15 per hour (no minimum 6614 S.W. Garden Home Rd. time, buy 10 hours, get 2 free!) / 100 Portland, OR 97223 CDs duplicated - $200 (503) 246-5576 Services: Audio Recording, CD Email: [email protected] duplication and short runs, graphic Owner: Galen Hegna design, online sales, marketing, and

Page 20 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 21 Recording Associates master section and 24 channel 5821 S.E. Powell Blvd. monitor section with EQ. Switch- Portland, OR 97206 able plasma metering. Studio B: (503) 777-4621 Yamaha 02R digital mixing console: Email: [email protected] 40 inputs with dynamics and parametric EQ. Studio C: Yamaha Rex Recording 01V Digital Mixing ConsoleMulti- 1931 S.E. Morrison Track Recorders: Otari MX-80 2 Portland, OR 97214 inch 24-track with CB-120 locator (503) 238-4525 for programmable punch-in and Web: www.rexpost.com punch-out. ADAT 24 tracks, BRC Owner: Sunny Day Productions, auto locator. Inc. Mastering Decks: Otari MTR-12 II, Tascam 52, Panasonic SV-3700 River Recording DAT’s. Panasonic SV-3500 DAT, Milwaukie, OR Yamaha CD-R writer (503) 659-5760 Noise Reduction: Dolby 363 SR/ A Owner: Steve Parker 2-Channels, Dolby XP 24-Chan- nels SR, Digidesign D.I.W.R. Digital Sound Goods Audio Beaverton/Aloha, Oregon Digital Workstations: 3 Digital (503) 690-6864 Performer workstations with 2408, Web: http://www.soundgoods.com 2408II, 1224, MIDI Time Piece, and Owner/Engineer/Producer: Joshua MIDI Time Piece AV interfaces, Slamp Apogee AD Rossetta Converter, Pro- Tools III 16 Track Power Mix (on Sound Impressions, Inc. the AVID workstation). 1920 N. Vancouver Synchronizers: 4 Adams-Smith Zeta Portland, OR 97227 Three’s. (503) 287-3975 Fax: 249-5021 Outboard Signal Processors: Lexi- E-mail: info@sound- con: 480L, 2-Lexicon PCM-70’s, 2- impressions.com Lexicon LXP-1’s, Lexicon PCM-41, Web: www.sound-impressions.com 2-Yamaha REV-7’s, Yamaha SPX-90, Other Services: Web Site Design, Alesis Multiverb, Ibanez SDR-1000, Video Production & Duplication, Eventide H-3000 Ultra Harmonizer, and CD Rom Authoring. ADA Pitchtrack, Roland SDE- Owner: Dan Decker 3000, Deltalab 64 Delay, Deltalab Engineers and Personnel: Dan 1064 Delay, Audio Design Delay. Decker: Engineer / Producer, Nick Orban 672A 8 band full parametric Kellogg / Engineer / Producer, EQ, Orban 622B four band stereo Rick Duncan: Engineer, Wayne full parametric, NIH PE-30 four Thompson: Programmer / Engi- band full parametric, UREI A522 neer, Delandra Clark Scheduling / 1/3 octave graphic. Focusright Artist Management, independent Mic Pre’s, TL Audio Stereo Mic engineers are welcome.Assistant Preamplifier, Aphex Type II Aural Engineers: Jim Lechocki, Justin Exciter, Aphex Type B Aural Exciter, Swanson, Tony Crepps 2-dbx 263X de-esser’s, B.A.S.E. Direction: Sound Impressions has Spatial Processor, Crane Song STC- been serving the Northwest with 8 Stereo Compressor, Focusright quality audio services since 1983. Compounder Stereo Compressor, Audio projects range from local dbx 122 Stereo Compressor, Aphex demos to national albums in all Stereo Compeller, 2-JBL 7110’s, 2- styles of music. Our new facility Symetrix CL-501’s, 2-Symetrix CL- located two blocks from the Rose 100 , Symetrix CL-150, 2-Symetrix Garden arena houses two large 544 Quad Gates, Aphex 612 Stereo audio studios and a video editing Gates. suite. Call to set up an appointment. Instruments: Yamaha C-3 6 foot We would be happy to show you grand piano, Yamaha DX7, Yamaha our studios and discuss how Sound DX7 II, Ensoniq ASR10, Fender Impressions can assist moving your P-Bass, Fender Jazz Bass, Fender musical career forward to the next Telecaster, Kramer DMZ-5000 level. Fretless Bass, Gibson J-40 acoustic, Mixing Consoles: Studio A: DDA Rickenbacher 5001 Stereo Bass, AMR-24, 60 inputs with Uptown Ampeg B-15 Bass amp, Fender moving fader automation, 24 buss Sidekick amp. Oberheim Matrix 6R, split console design. 36 channel Continued on page 22

Page 20 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 21 Clients and Projects: Subpop 10, Marv Ross Rindy Ross, Land Groove Tube 1A (2), Sennheiser Records, Atlantic Records, Frontier of the Blind, Chode, Mel, Nancy MD-421 (2) , Shure SM-57 (4) Records, Sony Records, Mercury Bright, Leroy Vinegar, Soular, , Shure SM-58 (2) , AKG D112 , Records, Roadrunner Records, TK OC192, Gypsy Caravan, Melt, JIVA, Shure Beta 52 , Neumann M147 , Records, Carlson Records, MDR Victor Wooten, Portland Trail Blaz- Neumann KMS105 , SansAmp Bass Records, Rainbow Records, Schizo- ers, Portland Winter Halks, Portland Driver DI , AKG D12-E , Neumann phonic Records, Elemental Records, Songwriters Association, Tektronix, KMS148 (2) Preamplification, The Dandy Warhols, The Freemar- NEC, Fujitsu, LPKF USA, LPKF True Systems Precision 8 , Focusrite Continued from page 21 tins, Scott Fisher, Smoochknob, Al Germany and many more. ISA-110, Limited Edition , Focusrite Perez Band, Ashbury Park, Blake Platinum Voicemaster (2) , Mackie Korg DW-8000, Sequential Drum- Sakamoto, Honey Ryder, David Lee, SuperDigital Ltd. VLZ’s Processing, Mackie EFX trax, 2-Alesis D-4 Drum Modules, Disciples In Song, Jan Celt, Lonnie 915 N.W. 19th Portland OR 97209 – Reverb, Compression, Gating , Korg M3R, EMU Proteus, Ober- Turner, Washing Waldo Woo, 228-2222 Apogee UV22 , Lexicon PCM 91 heim Matrix 1000, Kawi K1, Korg Signals, MOJO, Jackstraw, Fred Email: superdigital@superdigital. Reverb , Waves L2 Ultramaximizer , Polly 800, Roland 2080, Akai S2000 Stickly, Hardship, Jamie Hampton, com DBX 160A Analog Compressor (2) Sampler, Roland JV1010, Fender Stark Raving Mad, Super Friends, Web: www.superdigital.com , EMU E4XT Ultra Sampler Moni- Rhodes Piano, Whurlitzer Piano, Dave Said Strike, Petal, In June, Jeff Owner: Rick McMillen tors, Mackie HR824’s Headphones, large sampling library of loops and Cava, Shapeshifter, Adam Zwig, Sony MDR-7506’s Media Format sounds. Jim Sluder, Lisa Polick, Jon Koonce Tonic Media Options, CD-R, DAT, .mp3, .wma, Microphones: AKG The Tube, AKG and the Gas Hogs, Poison Idea, PO Box 14062 Cassette Transfer Formats, TDIF, 414’s, Neuman U-87, Neuman KM- Eric Mathews, Cardinal, American Portland Oregon, 97214 ADAT Optical, Analog XLR and 140’s,EV-RE20, AKG 330’s, 320’s, Girls, Swoon 23, Craig Carothers, (503) 236-2123 _” TRS Stereo Transfer Formats, 451’s, 460’s, D-12’s, D112. Audio Heatmiser, Dan Reed, Monde La Email: [email protected] AES/EBU, S/PDIF, XLR,” Coaxial. Technica ATM-63’s, Tascam PE- Bella, Southern Nights, Caveman Owner: Alan Alexander III 250’s, Sony Condensers, American Shoe Store, Pig Pen, Hearing Voices, Walter Midi Recording and Shure Ribbons, Shure SM-57’s, Snowbud, Dan Balmer, Brothers of Walnut Studios 1420 SE 162nd Sennheiser 421’s, & more!Monitors the Balidi, Nu shooz, John Nilsen, (503) 312-9663 Portland OR 97233 and Amplification: UREI 813’s, Michael Harrison, Tall Jazz, Dub Balanced Power, Equi=Tech (503) 761-0964 KRK 7000’s, Yamaha NS10’s with Squad, Gary Ogan, Dub Debrie, ET1RSI-F. Console, Mackie D8B, Email: [email protected] matching sub wolf, Auratone 5-C, Steve Christopherson, Here Comes OS 3.0. Recorder, Otari RADAR Owner/Engineer: Jon Lemon Ramsa, Crown, Yamaha,and QSC Everybody, Patrick Doro, Double II Hard Disk Recorder, OS 2.20. Amplification. Trouble, Cross Country, Power Of Mics/DI, AKG C 414 B-TLII (2), LL

Page 22 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 23 LAST MONTH LAST THIS MONTH 1 1 KING BLACK ACID / Lakeshore Records CD...... Mothman Prophecies 3 2 M. WARD/Future Farmers CD ...... End of Amnesia 3 3 HOLY SONS/Pamlico Sounds CD...... Staying True to Ascetic Roots • 4 I CAN LICK ANY SONOFABITCH IN THE HOUSE/In Music We Trust CD .... Creepy Little Noises 6 4 SONS & LOVERS / Demu CD...... mixes 2/02 2 5 RICHMOND FONTAINE / Advance CD...... Winnemuca 11 5 THE COUNTRYPOLITANS/Sideburn CD ...... The Countrypolitans • 6 LAUREL CANYON / Demu CD...... EP • 7 GODLINGS /Art Compound CD ...... Something Shiny 8 7 WATSONVILLE PATIO / Tequemo Records CD....Cover the Sun with One Finger 11 8 BATHTUB FULL OF SHARKS/Room Service Records CD...... Rubber Sharky • 8 AUDITORY SCULPTURE / Four Eyes CD...... Merge • 9 JOHN FAHEY TRIO/Jazzoo Records CD ...... Volume One • 9 JESUS PRESLEY /JPX Records CD ...... Salvation Vacation • 10 THE BOYS FROM IPANEMA / Demo CD...... Three Songs To Go 12 11 KING BLACK ACID / Download CD ...... “The Other Voice” • 12 JAMES ANGELL / Psycheclectic Records CD ...... Private Player • 13 LAUREL CANYON / Demu CD...... EP.2

5 1 KING BLACK ACID / Lakeshore Records CD...... Soul Systems Burn • 2 M. WARD/Future Farmers CD ...... Bad Dreams • 3 HOLY SONS/Pamlico Sounds CD...... Failure Wish Rising • 4 I CAN LICK ANY SONOFABITCH IN THE HOUSE/In Music We Trust CD ...... Graveyard Song • 5 SONS & LOVERS / Demu CD...... Bootleg Bible

Wednesday, April 17th ...... The Quag’s Wednesday, May 1st...... Johnny Koonce Wednesday, May 29th ...... King Black Acid

Page 22 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 23 Shop Class,” for a time, sounds like a western would seem, the sky is the limit. It is really just a gamelan ensemble playing the music of Harry matter of time until he finds widespread success Partch, before developing into a more meditative in his own distinctive fashion, on his own artistic piece and re-circulating from there. Rachael Gross terms. returns, adding vocal coloration to “Who Knows.” Mysterious Ways— Jon Koonce and the Honky Continued from page 10 Its utilization calls to mind the pioneering work Tonk Trio Or, soundtracks for films of the mind. of Deep Forest. Moon Records Schreiner’s renderings are quite organic in nature, Middle Eastern percussion forms the founda- hat does one say about the career of which, intrinsically, open and unfold like living tion for the billowing, dark chords of the medita- Jon Koonce, that hasn’t been said creatures. The progress he has made in the short tive “Deptank.” “A Lonely Day” calls to mind the Wa hundred times before? Here time since the release of his album with Dahlia, is aural installations of Klaus Schulze or Tangerine is a guy who was up in the big leagues for three palpable. It is readily evident that Keith is finding Dream. Perhaps the most accessible piece of either albums with Johnny and the Distractions; all the his own voice as a musician, having discovered set is “Pollack,” a short cut, predominately atmo- while being kicked around and mistreated by his the way to integrate these two sides of his musical spheric. Veering closer to the work of John Cage, label, before being cut loose and cast adrift. Unwill- personality. “Atmosphere 1.42” combines symphonic flutes ing ever to be treated that way again, Koonce has The first track on Disc One, “Shards Of Glass,” with jittery synth washes to create an ominously been carving out a career for himself for the past places, perhaps, too much emphasis on the beats. pensive mood. twenty years, but on his own terms, in his own way. Schreiner pushes the bpm envelope, speeding the The final track, “Last Song” rides upon a syn- Fiercely independent, Jon Koonce, more than any beats up to fluttering pulses, which have more tonal thesized bassline, aguring the return to the “Urge” other local musician (other than Fred Cole per- value than rhythmic. This is probably the least suc- aspects of Disc One. This goes on for a couple haps, who is cut from the same fabric as Koonce), cessful of his audio experiments. More interesting of minutes, before descending into an extended embodies what the Portland music scene has been is “Failed Experiment,” wherein Keith utilizes guest silence that lasts for nearly thirty-five minutes, about for the past quarter century. Rachael Gross’ wordless voice to create a winsome before erupting into a couple of minutes of rabid Any attempts to name all the bands, configu- sound collage— sort of like the Cocteau Twins with beats and dittering synth tones. An odd choice for rations and permutations Koonce has fronted or frenetic beats behind them. Keith as a summation of his musical message. played with would be a futile endeavor, but the pre-Distractions Sleezy Pieces, Mystery Train and the Gas Hogs were three of the most memorable. Still, he learned the business the hard way with the Distractions. Johnny and the Distractions’ eponymously- titled, independently released first album sold 10,000 copies in the Northwest alone, between the fall of 1978 and early 1980, before being signed by A&M records to a three-record deal. What resulted, though Koonce would never say it himself, was a classic case of label abuse. The producer of the “The Bust” begins with a moody setting, Keith Schreiner is a work in progress. first A&M release, who had signed the band in the before kicking things up a notch, temporarily, Whatever it is that he is to become, as a musical first place, lost interest in them before they even a minute or so into the proceedings. Then, a entity anyway, is still in its formative stages. He is got the first album recorded. By the time of the recycling process of the two themes begins and blessed with abundant tools and skills as a crafter third release, Koonce was begging to be let out of continues on from there. A disquieting melange of intricate musical pieces. As yet, however, he has his contract. of crying/wailing voices forms the foundation for not mastered his technique with drum samples. Since that time, Jon has gone his own way, “Other Voices.” A slippery, octave jumping bassline It is probably his work with beats that is the least following various musical tributaries to their holds down the focus, until wild, arpegiated sitar satisfactory part of what he does. If asked, he headwaters. This eleven song (three captured sounds leap to the sonic forefront. “2in1” heads would probably have a very good explanation for in a live setting) outing, of which he penned six off in one direction for about a minute and a half. his decisions, on occasion, to kick out the jams and of the tunes, finds Koonce exploring all of those Then, Schreiner plays with a roiling dobro guitar head out for 300bpm territory. However, that sort influences, as well as a few new ones. Backed by a figure, which seems reminiscent of that found in of arrhythmic distortion does not meld well with trio of fine musicians including drummer Kenny Beck’s “Loser.” Schreiner cleverly twists that riff the style of music he produces. Instead, it has the Sawyer, multi instrumentalist Paul Hirschmann inside out, while continuing his onslaught of effect of alienating the listener when everything and his wife, bassist Debbie Smith, who honed agitated beats. else is beckoning him in. This would seem to be her chops as a founding member of the Blubinos, A more meditative milieu surrounds “Slow a paradox that will require further investigation playing with Monti Amundson for ,many years. Motion Pillow Fight.” While the beats remain in the future. In addition, Koonce has surrounded himself with frenzied, the soft, amorphous undulating organ Just the same, Keith Schreiner would seem longtime friends Bill Feldman to aid in the record- tones beneath are as measured as a human breath. to be the best we have, from the cut and paste ing and production of this project. The final track on Disc One, “Roberts Decision,” school of music. His development as a cutting What is most unusual with this album are calms down somewhat, foreshadowing the more edge electronic technician, while still transpiring, Koonce’s references to gospel music which bubble contemplative aspects of Disc Two. Here the beats is beyond dispute. Any attempt to project the arc of up with regularity. If Jon has suddenly come to seem to drag the slowly developing instrumental his current trajectory would be foolhardy (though embrace the lord, he’s doing it in the most mild- aspects along for a while before petering out all he seems, at times, nearly up there with the likes of mannered way possible. Songs such as “Mysteri- together. Thoughtful. Danny Elfman and Carter Burwell, in his potential ous Ways,” “Walking In The Light” and “Good Boy The first track on the second disc, “Surreal as a soundtrack composer). For Keith Schreiner, it Now” allude to values and attitudes associated with

Page 24 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 25 a Christian lifestyle, without being heavy-handed know what to do/They dressed him in gold and Lew has ever produced. Recorded live, with just a in the least. they crowned him king/Lived in a palace, had two mic or two, this seventeen-song set (including nine The title track is a gentle love song. Koonce’s of everything/None of it would buy his train fare original tunes and eight traditional covers) finds voice sounds calm and at peace, which is sort of home.” Very poignant. Jones in fine voice, while his skills as a guitarist strange coming from the guy who used to sing “Good Boy Now,” is a rousing, truck drivin’ have never been keener. We even discover Lew’s “Octane Twilight.” A mandolin-like accompani- tune, an original number that sounds very famil- nascent abilities on the harmonica, which hereto- ment elegantly supports Jon’s JJ Cale-like vocal iar. Hirschmann’s slick pedal steel guitar work fore had been given only cursory exposure in the delivery. adds just the right touch to the proceedings, as Jones oeuvre. “Amsterdam” finds Jon returning to his more Jon good-naturedly intones: ‘Used to chase all of But the best thing about this collection are familiar assertive vocal stance which sounds a bit the senoritas/Used to hang from the ceiling like the inclusion of several new compositions, which like Springsteen and John Mellancamp— but is I was Cheetah.” The band’s stirring instrumental are among Lew’s best songs ever. “Golden Days Are pure Koonce, singing about life in that notorious rendition of Bert Kaempfert’s “Spanish Eyes,” made Coming” is simply a gorgeous little song. Lew’s Dutch city. “Everybody down here is a rebel/In famous in the ‘60s by Al Martino, benefits from idiosyncratic guitar-playing, often seems to be grand style, below sea level/It’s just another night swirling pedal steel guitar and a bazouki like sound cramming five measures of basslines, chords, lead in Amsterdam.” A stirring lead guitar figure serves that is particularly well-rendered. lines and other information into four measures to add a sense of anthemic urgency to the song. At this late stage of the game, Jon Koonce is of song— a sort of nouveau Folk flamenco style, Jon adds a fiery guitar solo to the loping waltz, not likely to begin compromising himself for the with multiple parts whirling in their own separate “Borderline.” The band’s rendition of the Country sake of his musical career. It is obvious that he and spheres. Here, it all seems to fit together supporting chestnut “One Foot In The Honky Tonk,’ allows the Honky Tonk Trio are playing that they like and a lovely melody. Especially nice is Lew’s Neil Young Hirschmann to display his mastery of the pedal that they thoroughly enjoy working together. For a via Bob Dylan-style harmonica solo, wherein Lew steel guitar. “Walking In The Light” is a Dylanesque real musician, it doesn’t get any better than that. briefly sounds like an entire big band chiming Folk ballad with tinges of familiar old-time gospel American Folkie— Lew Jones against a lovely chromatic chord progression. tunes marching through the verses. Hirschmann Living Room Records Lew’s guitar softly calls a syncopated response adds authentic sounding dobro guitar in the solo t is impossible to calculate how many to his vocal melody line on “One For Me Has section. songs and how many albums Lew Jones Come,” another gem, could pass for the early work Hirschmann’s contributes a fiery Duane Ihas released in his thirty year career. That of Donovan; while his harmonica solo is another Allman-like lap steel guitar intro and solo to“Train he has written thousands of songs seems without piece of blowing inspiration. “Summer’s Ghost” has Fare Home,” a song that cleverly uses an analogy to question. That he has released over thirty record- a Satie-like simplicity, its cadence invoking warm the story of Elvis Presley, to make it’s point. “Young ings seems more than reasonable. So, after all this sunshine and gentle breezes, as Lew provides a boy from Tupelo sang the Blues/Kicked the whole time, there is no reason to suspect Lew would be lyrical tour of Eastern Southern California, while world’s ass in blue suede shoes/His mama died turning any musical corners at this late date. singing in a gravelly whisper, similar to that of Dave young, his brother did too/After that, he didn’t But, without question, this is the finest album Continued on page 26

Page 24 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 25 by Brian Wilson and the Beach Boys, whereas the somewhat reminiscent of Elvis Costello’s “Watch- “Cowboy” aspect seemed more a product of the ing The Detectives.” “Dizzy Little Rich Girl” takes Eagles’ “Desperado” character. Together, the two it’s musical cues from Devo and Gary Numan images proved to be a fertile source for material. (“Cars”), with Julie Nunez’ elemental Farfisa What is really surprising is how fresh and lines. The desperado/Armageddon number “Final Continued from page 25 clean these recordings sound, nearly twenty years Showdown” has more political pertinence today Matthews when he is trying to sound like Peter after their conception. The songs are fun and well than it had in those Reagan-era days of Iran and Gabriel. A new and evocative vocal technique for performed. “Rattlesnake Whip” slithers on a snakey Contra battles. Mr. Jones. riff, while the rhythm section holds down a pulsat- Tim Otto and the Surf Cowboys were a A beautiful, Irish-eyed vocal melody, espe- ing beat. “Shoulda Run Away” and “Don’t Doubt good band in their day, playing on bills with all of cially in the bridge, decorates “Emperor Bought Portland’s fi nest Pop bands. This New Clothes.” Lew’s simple (by his standards, album affi rms that the band was anyway) guitar accompaniment, and abrupt no fl uke. Their songs are catchy, harmonica interlude add the perfect mood to if for the most part a little light; this brief, compact gem of a song. “Save Me” fl irts and ultimately true to the spirit with a Latin feel, while Lew croons a candid lyric. of the music of their time. A fun “Save me from this repletion/of the past, of the walk down memory lane. facts/Save me from this inquisition/Never going Ash— Vickers Spitfi re back, I’m never going back.” Self-Produced Lew Jones has been around Portland for ickers Spitfi re was so long, it’s easy to take him for granted; easy to playing around overlook him. But the guy has been playing in Vtown under the Portland for over thirty years. One wonders just name Ash, until it was discov- what he must do to receive due recognition for his ered that there was already a efforts. It will be hard for anyone to overlook this band in the UK with the name, album, for it is an unique piece of contemporary so PDX Ash changed their name. Americana. It was a good thing, because the The Surf Cowboys Collection (1984-1986)— Surf Cowboys The Vickers brothers. UK Ash recently won the “Best Almost Paradise Music Single” award in the Brit press, narrowly beating im Otto, an occa- out the Dandy Warhols. So it would seem that the sional cohort of name is already taken for the foreseeable future, TLew Jones (or The band is comprised of drummer Michael perhaps it’s the other way Hageman and the brothers Vickers, Aaron on bass around), has had his own and Evan, the songwriting Vickers, on guitar. All story in the music business, three Spitfi res sing, showcasing abilities with vocal going back to his alliance harmony. For this three song demo, Aaron and with Norman Petty (the man Evan enlisted the services of their father, Mark who discovered Buddy Holly Vickers, to add electric and acoustic guitar back- and co-wrote many of his ing. early songs). Petty, whose Tight three-part vocal harmonies decorate untimely death cut short Tim’s the straight-ahead chorus of “Sliver” which off- ambitions to become the next sets the syncopated upstroke of the verses, where Buddy Holly, recorded three of early Talking Heads come to mind. “Apple Tree,” Tim’s songs in his auditorium/ a mildly philosophical little ditty, again fi nds its studio in Clovis, New Mexico. photos David Ackerman strength in the lads’ well-blended harmony vocals. But after his death, the tape could not be located. “Broke Me Down” heads in a different direction After Petty’s death, Tim came to Portland, forming the Surf Cowboys shortly after his arrival. The band was, for the most part, a quartet with Otto in the role of frontman singer/songwriter, rhythm guitarist, while lead guitarist Greg Paul, who later went on to play with Sing Sing Sleepwalker in the later ‘80s, and the Speeding Ferlinghettis in the ‘90s, bassist Chris Charles and drummer Brad Pharis with an Offspring-like approach: Chunky power- My Love” Bad Dream” and “Asking Too Much” are were his backup band. chords backing a muscular lead singer. pure Holly, the latter a good-natured plea for the These recordings were culled from the three Vickers Spitfi re is a very young band, who good life “Hang out with the duke, make love with year lifespan of the band, over which time there display some potential as songwriters and vocal- the duchess/Swing on chandeliers, hey hey with the were some personnel changes in the lead guitar ists. There’s is a long road ahead and there is much monkeys/Take a movie star for my wife/ I could be and drum positions. But, as many of the fi fteen to learn. But these guys seem like they’re up to the happy for the rest of my life.” songs collected here clearly attest, Otto was the task. centerpiece of the Surf Cowboys. His odd, idyllic A powerful change of pace is “Jaguar” a vision of the “Surf” motif, was clearly infl uenced Reggae upstroke infl ected piece of molten rock, LL Page 26 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 27 are sold (such that the $125,000 in recording costs 8. The Producer’s Audit Rights. If the pro- have been recouped at the $1/record “Net Artist ducer agreement is between the producer and Rate”), the producer is owed $31,250 (125,000 recording company, the producer will normally multiplied by 25 cents for each record) for those have the right to audit the record company’s Continued from page 7 125,000 records. But since the record company is books. amount of artist royalties (calculated at the “Net entitled to recoup the original $20,000 producer However, if the producer agreement is Artist Rate”) equal the total recording costs, the advance from the producer’s royalties, the record between the producer and artist, the producer producer will be entitled to be paid royalties. As company must pay the producer only another will not have the right to audit the label’s books. discussed in more detail below, the “artist royalties $11,250 for those 125,000 records (the $31,250 in Therefore the producer will often request a clause calculated at the net artist rate” will not actually be total producer royalties up to that date, minus the in the producer-artist agreement allowing the pro- paid to the artist; this calculation of artist royal- producer’s original $20,000 advance). ducer to force the artist to audit the label’s books ties is merely an accounting process, done only to For all records sold after those first 125,000 on behalf of the artist and producer jointly. determine the point at which producer royalties records, the producer will continue to receive addi- 9. Producer Credits. Usually the producer must be paid. tional producer royalties at the rate of 25 cents for agreement will state, sometimes very specifically, Example: Let’s say, to make it simple, that each such record sold. how the producer credit will read on record art- the total recording costs are $125,000, and that 5. “Pass Through” Clause. Most producer work and in any print ads. the 11% “Net Artist Rate” here equals $1 for each agreements contain a clause, often referred to as 10. “Re-Recording Restriction.” Generally record sold. Once 125,000 records are sold, the the “pass through clause,” which provides that the the producer agreement will prohibit the producer recording costs will have been recouped by the producer’s royalties will be calculated on the same from using any song from the project in another record company (at the Net Artist Rate of $1 per terms as the artist’s royalties. For example, if the project within a specific period of time, usually each record sold), and producer royalties will then artist’s recording agreement with the label says that two or three years. be owed to the producer at that point. Under the the artist will not be paid on “free goods” and will terms of most record producer agreements, those be paid a lower royalty rate on foreign sales, then THE FINANCIAL REALITIES OF RECORD producer royalties will be calculated on a “record the producer’s royalty will be adjusted in the same COMPANY RECOUPMENT one” basis (discussed below) way. This kind of clause can have very negative As mentioned above, producer royalties Again, no artist royalties will be paid to the consequences for a producer who is producing an become payable once the record company has artist for those 125,000 records. artist who signed a sub-standard record deal. recouped the recording costs at the “Net Artist 4. “Record One.” The term “record one” is 6. Tricky Issues Concerning Recoupment. Rate.” As a practical matter, these calculations are a term often used with producer agreements. It There can be some fairly tricky issues in terms of “Hollywood accounting” and have little or noth- means that once the recording costs are recouped how the recoupment provisions are written. For ing to do with the financial realities of the situa- at the Net Artist Rate, the producer will be paid example, the producer will want to make sure that tion. In many (if not most) instances, the record for all records sold, beginning with the very first the definition of “recording costs” in the producer company will have “broken even” from sales of the record sold. Again, this is referred to as being paid agreement excludes any cash advances paid to the record long before it has, for accounting purposes, “from record one.” artist. “recouped recording costs at the Net Artist Rate.”

CONCLUSION There are many other important provisions found in the typical record producer agreement, but the provisions discussed above cover the basic concepts involved. A sample producer agreement (with explanatory comments) can be found in The Musician’s Business and Legal Guide, a book usually This concept has very important ramifications In general, the producer will want to have available at Powell’s Books and at most of the larger for both the artist and producer. In short, produc- the term “recording costs” defined as narrowly book store chains. ers are typically paid from “record one,” but artists as possible. All things being equal, the narrower are not. So, using the above example, once 125,000 the definition of “recording costs,” the lower the Editor’s Note: Bart Day is a Portland-based records are sold, the producer is paid for all records total dollar amount of recoupable recording costs entertainment attorney in private practice. He is back to the very first record, but under the terms there will be. And the lower the recording costs, the also a partner in ALLMEDIA, Ltd., a company with of the typical record deal, the artist would typically sooner those costs will be recouped by the record offices in Portland and Los Angeles which administers be paid artist royalties on only those records sold company, and therefore, the sooner the producer music licensing for independent film and television after those first 125,000 records. In other words, royalties must be paid. production companies, and for various record labels the artist, using the sample numbers listed above, 7. “A-Side Protection.” This term relates and independent music publishers. would not be paid artist royalties on those first to the producer royalties payable on “singles.” Bart is also the co-author of a chapter in 125,000 records. Therefore, as a practical matter, Established producers are often able to get “A-side The Musician’s Business and Legal Guide, a book the producer typically gets a bigger piece of the protection,” which means that their royalty is based compiled by the Beverly Hills Bar Association and total artist/producer royalty pie than their respec- on the entire retail price of singles, and not prorated published by Prentice-Hall Publishing (New York). tive royalty rates would suggest. if a different producer produced the “B side.” The reader is cautioned to seek the advice Here’s a (somewhat oversimplified) example “Singles” are a dying part of the record busi- of the reader’s own attorney concerning the appli- how all of this works: Let’s say a producer is paid a ness and a much smaller portion of record sales cability of the general principles discussed in this $20,000 advance, and that the producer’s royalty than they used to be. I mention them here only column to the reader’s own activities. rate equates to 25 cents for each record sold. If, because the term “A-Side Protection” often comes using the sample numbers above, 125,000 records up in producer agreements. LL

Page 26 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 27 “They made me promise to cut my hair, Wilson’s got him. Continued from page 17 but I never did,” laughs Mark. The revered lead guitarist with both Pickers paying tribute include Trace When Norlin bought Gibson they Johnny & The Distractions and Quarterfl ash Atkins “Legs”, Brooks & Dunn “Rough Boy”, also acquired L.D. Heater and Vickers was is back from Georgia and billed in Sandin Tracy Byrd “La Grange”, Kenny Chesney promoted and sent to Seattle to run the new Wilson’s new band. Wilson’s new CD “Tush”, Andy Griggs “I Need You Tonight”, Epiphone operation. “The high point had to “Into My World” is produced by Jimmy Alan Jackson “Sure Got Cold After The HaslipHaslip (Yellowjackets)(Yellowjackets) and sc scheduledheduled f foror Rain Fell”, Lonestar “Gimme All Your imminentimminent nationalnational rrelease.elease. Lovin’”, Montgomery Gentry “Just Got Sandin Wilson has a mythic profi le Paid”, Willie Nelson “She Loves My himselfhimself in OrOregon,egon, hahavingving plaplayedyed bass oonn Automobile”, Brad Paisley “Sharp Dressed wellwell overover 50 albumsalbums sincesince 1980, includingincluding Man”, Phil Vassar “I Thank You”, The recordingsrecordings w withith C Calvinalvin Walker,Walker, MichaelMichael Warren Brothers “Cheap Sunglasses”, Hank Harrison,Harrison, QuarterflQuarterfl ash,ash, C Calal Sc Scott,ott, C r Craigaig Williams Jr. “Jesus Just Left Chicago”, Hank CarothersCarothers and the SwinglineSwingline Cubs.Cubs. Williams III “Fearless Boogie” and Dwight Joining Fraser and Wilson in Sandin’s Yoakam “I’m Bad, I’m Nationwide”. newnew band w willill b bee dr drummerummer Carlton The RCA album will be on the street Jackson, synth player Barry Aiken, Tim April 30th. Bryson on sax and Paul Mazzio on trumpet.trumpet. ©©© The fi rst single to be pulled from Into The Gibson Les Paul is fi fty years old. MyMy WorldWorld willwill bebe “Olympus”“Olympus” featuringfeaturing a The 9th Annual City Of Roses Vintage guest appearanceappearance bbyy Tom Grant. Guitar Show takes place Sunday, June 9th at the Monarch Hotel in Clackamas and ©©© in celebration of the Gibson autograph THIS JUST IN…N IN…Nationalational P Publicublic RadioRadio model’s anniversary and Les Paul’s birthday, Bob Moog,Buck Munger, Les Paul. aired Here Comes Everybody’s “It’s A organizers say they will have a Gibson Les Buick” March 23rd on “Car Talk” generating Paul from each of the 50 years of Les Paul be hanging out all night talking guitars with orders for the album here at home. The tune production. Jimmy Page when he came to the Kingdome is from HCE’s “Astronauts” …Ron Stephens Les Paul superfan Steve Landsberg will in ’77.” about to open Crossroads Studios, which be bringing his nine vintage hand-signed Les Livin’ large in the guitar world… will be “the best of both worlds” in recording Pauls and vintage Gibson amps. Steve owns Then along came sons Evan and Aaron. technology; Pro Tools, 2” 24 track, Neve Diamond Z Records and mobile recording The boys played sax and fl ute in the school console. Ron says, “looking down on it, the company On Site Audio and has over the band growing up but eventually gravitated room looks like EMI studios, it’s got that years traveled to hang out with Les Paul to guitar and bass. “When they were kids in Beatles vibe.”… The Cow Trippers will be right up to the edge of that restraining order. Seattle, we had a family acoustic act called recording live at the Ohm April 20th…Lea “My wife says I have a problem.” Says Steve. The Vickers Pickers.” Krueger will play her last gig with Sugar High Normally the nine autographed guitars hang A decade later Mark and the family April 11th at the Green Room…Jon Koonce on the wall in Landsberg’s Lake Oswego Vickers moved back to Portland. “ In High & The Honky Tonk Trio at the White Eagle living room. School the boys had a trio called In Denial. Wednesday, April17th and Wednesday April For information on admission and “About a year ago we put together 40 24th…The Carlton Jackson/Dave Mills 18 exhibiting at the City Of Roses Vintage tunes and worked some gigs as ‘Ash’, but piece Big Band will play with the Oregon Guitar Show call Pat at 503/648-2916 or changed the name when we heard about the Symphony May 3rd at the Arlene Schnitzer Mick at 206/985-6777. UK band. The new name is Vickers Spitfi re, Hall…May 8th is the 10th Anniversary after the British World War Two fi ghter celebration for Jus Family Records at plane.” VS includes Evan Vickers on guitar, Berbati’s Pan. A decade of Cool Nutz. All the ©©© Aaron Vickers on bass, Mark Vickers on artists on Jus Family will perform May 8th Guitars get in the blood. guitar and Shawn Davis on drums. as well as Mystik Journeymen and the Boom Mark Vickers was the fi rst long-hair, Vickers Spitfi re will strafe the Cobalt Bap Project…Countrypolitans CD Release hippie-lookin’ guy hired at the staid, straight- Lounge May 11th and the Arnada Cafe May Party Saturday, April 13th 5:00PM at the Fez laced band instrument distributing L. D. 24th. Ballroom… Heater Music Company in Beaverton. Mark was hired to work in the guitar department ©©© inspecting Gibson, Epiphone and Alembic This guy was the bomb. instruments before shipment to retail stores. Doug Fraser is back, and Sandin LL

Page 28 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 29 Rollerball, at the Ash Street Saloon.

Page 28 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 29 MUSICIANS CLASSIFIEDS STOP IN ANY PORTLAND MUSIC FREE LOCATION & FILL OUT THE FREE FORM •Male lead singer and keyboard Traveling. Call Kenny: 503/297- •Electric violinist and drummer rock band. Show ready. Influences player wanted for Classic Rock 2314 seek male tenor lead and bassist/ Judas Priest, AC/DC, Iron Band. Must be reliable. Practice •Creative bass player interested in harmony vocalist. All oroginals. Maiden. We have shows pending. every Saturday in Beaverton either joining or forming a band. Influences: Sting; U2; Dave Call: Dan 503/231-0363 or Larry Call: John 503/645-2297 Hip-Hop, Funk, Folk, Worldbeat Matthews; Peter Gabriel. Call 360/253-8953. •Male Vocalist seeking Modern and Hard Rock. 503/241-5943 Brian (503) 293-2390. •Kerosene Dream seeks bass Metal Band. Influences •Singer needed. Rehearse once a •Guitar Guy seeks 50-60’s variety player for recording and live Godsmack, Disturbed, week. We have 2 guitars bass & band. Oldies, R&R, Blues and schedule. Harmony vocal ability Drowning pool. Serious only. drums and are in our 40’s. Variety ballads 1-2 gigs a month and a plus. Call Dave 9AM-9PM Tracy 503/ 720-9469 of music covers & originals.503/ weekly practice. Guitar, Vox, 503/281-5741 •Wanted Lead Guitarist for 289-4234 or 503/775-2677. Harp Pat (503) 636-7449 •Percussionist Available looking working band. Must sing and rip •Guitarist seeking Blues/R&B •Looking for female singer to to join working band. Congas, last lead Tray Spence of Blue band with steady work. Also harp, work. Recording guitarist and Timbales, Bongos and a ton Cheer. Call: 503/324-9261 vocals & keys. Pro gear. Gary songwriter with 24-track digital of hand held percussion items. •Bassist wanted for hard rock/ (503) 693-9837. studio. CD’s, tapes, free for Allman Brothers to East Bay alternative band. Original music, •Looking for female singer to helping. Peter (503) 359-0928 Funk, TOP, Cold Blood, War, cool people, good equipment. work on recording. Guitarist & •Guitarist looking for drummer Isley Bros, Sly, Motown, Call for info: Matt 503/723-3735 song writer with 24 track digital to jam. Rock groove Fusion style Worldbeat. Call:Keith 503/236- •Drummer wanted. Contemporary studio. Free tapes & cds. Call call: (503) 256-7682 2722 Country band Hillsboro area. Peter:503/359-0928. •Classic Ax: Rock cover band •Tribute Blues Show looking for [email protected] •Guitar player, plus vocals and doing 70’s-80’s classic rock, funk, Keyboard,Bass and harmonica. •Band seeking front man vocalist blues harp, looking for 50s/60s R&B. Immediate need for backup Call: Mike 360/696-9183 or e- to form an Iron Maiden cover band, working or forming. vocalist., keys rhythm guitar or mail: [email protected] band. Call: Jason 503/771-3322 Weekly practice. Monthly gigs. percussion a plus. (503) 626-6702 •Frontman seeks Gunslingers •Free Jam Session Wednesdays Experienced and dependable. Pat, •Seasoned Phunkster vocalist for Urban Assault Band. Blues, 8PM at the Gresham Inn, 117 N. 503/636-7449. looking for her all star Delicious Funk, Everything. Can you hang? Main •Local original rock band looking Band. Need players for gigs all Drums, bass, vocals. Call Jamie •Experienced bassist needed for for a bass player. We have great instruments Call: Sonsirea 503/ 503/645-5352 Hard Funk Jazz. Only serious material and are getting ready to gig. 239-7865 need call. Own rig a must. Gigs & Interested? Call Jay at 503-574-2591. •Drummer wanted for established

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

Page 30 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 31 me let alone getting ink for it. We are all ON THE COVER.- Jethro Grady of Dizzy Elmer. Locked in the basement finishing their first album, Dizzy Elmer has been selling stunned and hope you realize how much a preview EP of 4 songs off the stage. “It would be nice to get done but we just keep recording the new stuff we like better.” says Jethro. this means to us. Dizzy Elmer plays Ash Street April 12 and helps close down John Henry’s in Eugene, April 13th. Forever grateful. (Photo: Pat Snyder) uhn = docile www.docilenoise.com

Continued from page 31 GONE HOLLYWOOD BELOW THE RADAR Hey Buck. This is Adrian Ost the old drummer for the • Established 1979 • Dear Editor. red sector. TWO LOUIES PUBLISHING I have followed the career of Craving Editor: Buck Munger Just wanted to keep you up to date up there Graphics & Photo Editor: Buko Theo’s for sometime and it seems to me in Portland. You guys did a story on The TwoLouiesMagazine.com Art Director:Deb McWilliams in your coverage of the band’s deal with Writers: Red Sector and me leaving the band to Marc Baker • S.P. Clarke • Bart Day Columbia you are betting against them audition for Powerman 5000. I got the gig Dennis Jones • Denny Mellor by your continued references to them Robin Rosemond • Stephanie Salvey and I’m now in Hollywood working on the Photographers: “showing up nowhere” in Billboard new record. David Ackerman • Buko • Gustavo Rapoport • Pat Snyder and your snide “remember Slowrush?” Printed by: Oregon Lithoprint I can’t give you that much info as of now, Two Louies Magazine question. Columbia is a real record label 2745 NE 34th • Portland, OR 97212 we haven’t done an official release yet. and my guess is, by the time this letter is PHONE (503) 284-5931 • FAX (503) 335-3633 No dates have been confirmed for the Email addresses: printed, Craving Theo will be all over the Editorial: [email protected] release of new album yet. place and you’ll be eating crow. Layout: [email protected] I will make sure you get all the info you © 2002 by Two Louies Magazine. May not be repro- need on these issues 1st hand, unless you duced in any form without the expressed written Erin Maher consent of the publisher. Two Louies is available by don’t want it. There is MTV News. subscription. Send $35.00 for one year, postpaid. Salem, OR SlowRush, Rorschachtest, Plum, The Red Sector, the list goes on and on! GONE HOLLYWOOD I’ve had a long journey up in the Rose city and a lot of battles as a drummer, I’d like to Dear Editor. stay connected there. We wanted to thank you for the ink you I hope this info is somewhat helpful and I gave us in the Feb issue of Two Louies. will help when I can. To be honest, we had completely missed 4811 SE Hawthorn 503-238-1646 You can write me at [email protected] the article until last night when Myk our P.S. I don’t know what kind of stories APRIL drummer ran across it by accident. We Mondays Reggae Jam are being done with The Red Sector but, Tuesdays Special Jam had been told that we had some ink in Jimmy Evans(Leader) quit the band the magazine but we thought it was in Friday 5th months ago. Jimmy and I have have been Mother Hips, Actual Tigers, Bell Furies the march issue. We’ve all been so busy Saturday 6th playing together for allmost ten years. We I-tals with business that nobody related to the start those bands and we end those bands. Wednesday 10th band had caught the Feb issue at all. If not Tecumseh Valley, Convoy, Stephen Ashbrook Kevin Haun was never a leader of this Thursday 11th for our drummer we would have missed Schfuilkus band, because he owned a recording studio the boat entirely and been pissed that we Friday 12th he got all the press. Johnny Stanford (Bass) Higher Ground weren’t in the March issue. Saturday 13th has left also. Rumor has it Haun thinks he Hap Hazard, Land Camera, Micro Orchestra We just want you to know how much it going to try it again with the same name Wednesday 17th means to us to have a local legend such as Jive, Public Groovement and some songs that Evans Wrote. Thursday 18th S.P. Clarke write about a silly little band Bond Bros, Precursor, Sheer Bliss Right, Good Luck! Friday 19th like docile. It truly means a ton for not only Phat Sidy, Smokehouse, Pappa Soul Kitchen us but the many other semi-good bands in Saturday 20th Ad-7 Beres Hammond town. There is hope. Wednesday 24th Black Dog If you have a chance to check us out live Thursday 25th sometime that would give you a much Space Ferry, Big Orange Splot, Raddix Friday 26th better idea of our potential. Booth 13 was Logos Eye done with no budget in my basement Saturday 27th Ordinary K and just getting the record done astounds LL

Page 30 - TWO LOUIES, April 2002 TWO LOUIES, April 2002 - Page 31 ���� ����������� ���� ����������� ������������ �������� ������������ ��������� � ����� ���� ����� ������� �� �������������� ����������� ����������� ��������� �������� ������ �������� � � �������� �������� � �� ����� �������� ���� �� ����������������������������������� ��� ��������������� ������������������������������������ � �������������������� ������������� ����� �������������� ��� � �� �������������� ������������������ ��������������� � �� � �� ��� ��������������� ���������������������������� �� � ������� ��������� �� ������� � ����������� ����� �������������������� ������������������������ ��������������� ������ ����������� � �� ��� ������������������������ ��� ������ ������� ������ ��������������� ��������������������� �������������� � ������������ ������ ������������������������ � �� ��� �������������� ��� �� ��������������� ������������������������ ������ ��������� ��� ��������������� ����������� � � �� ������������������� � �� ����������������������� ���������������� ��� ���������� ��� ��� ������ ��������� ������ ����� ������� ���� ��������� ������������������� �������������������� �������� �������� �������� �������� ������������ ��������������� �������� ��������������������������������������������������� ��������