OREGON MUSIC / JANUARY 2002

photo Pat Snyder

OREGON STUDIO/MASTERING

photo Pat Snyder

Sweaty Nipples at Satyricon 1991.

weaty was born in the AFM Local #99’s countless run-ins with crooked promoters, didn’t to Megaforce Records. rehearsal hall, August 9, 1987. Before it miss a show for the first 9 years. After the Farewell gig in ‘97 members Brian S was over the band played 1,300 shows, The band was proud of bragging they had Lehfeldt and Davey Nipples found work in did 3 coast-to-coast tours, released 3 CD’s, 2 slabs been signed to “No less than 4 failed record deals”, Everclear. New Years Eve 2002, Sweaty reunited at of vinyl and a smattering of cassettes and despite the biggest of which was probably the ‘93 signing the Roseland in front of a thousand glistening fans. LL Editors Response Art or Meredith, It will usually be some other published Yo, source speaking. It’s not important what some low rent LETTERS Since I’m the one who keeps writing about Art and music journalist in some backwater music town says Two Dufuses Meredith (and Billy) I thought I’d answer your thought- about Art, but it is important what Billboard, Rolling Dear Two Louies Staff, ful note, Two Louies is a music trade publication. About Stone, USA Today, Entertainment Weekly and others say, Why don’t you guys rename your rag “Two the business of music. Hence the column by the lawyer et especially when it enhances the image of the Portland Dufuses Living In The Past” ? Or better yet : “The al. You may have missed that if you just joined us back music community, which it often does. Everclear Rancher Brooks Fanzine”? Dudes, it’s simple. when we were hip. If you’re a music fan and not a player When some of those bands you’re telling us to get It sucks when someone dies of cancer etc. but the truth I can see where Two Louies might confuse you. hip to, start showing up in those publications, you’ll read is those guys you keep writing about are not players. Art Alexakis is one of Portland’s largest music busi- all about it in As The World Turntables, but by then, Billy Rancher was at best a mediocre writer and player. nesses. He hires musicians, engineers, roadies and record- you’ll be bored with them. Art and Meridith are nothing more than entertainers ing studios. He has his own label. He brings other bands When you’ve paid your dues you’ll figure out that just like Brittany Spears and N’Sync. to Portland to produce them. He buys musical instru- newer is not always better and that what is hip today is At one time, far away and long ago, your rag was ments, recording gear and pro audio equipment. He’s passe tomorrow and in the end the only thing that’s im- actually hip. Now you are wasting natural resources, what’s called part of the infrastructure. portant is who owns the music publishing rights. But namely paper. We would be a lame trade publication if we didn’t that’s just the TL slant. Why don’t you geeks shut down your operation cover Art’s business. As to your statement that Billy Rancher was “at for a while, get out into the kingdom and listen. Take Meredith is a different case. She’s part of best a mediocre writer and player,” I’d have to say you’re a chance and buy some local artists’ CDs that you nor- Hollywood’s infrastructure now but not that long ago she full of shit on that one. Clive Davis signed him and a full mally wouldn’t. Experiment and get well then start back worked up and down the street here and has left behind fifteen years after he’s dead people still believe in and up. dozens of musicians, songwriters and technical people care about his music, which you would have seen for your- Bob Olsen who are still involved with her and interested in what’s self had you been at the Roseland Grill December 2nd. [email protected] happening in her career. Her parents live here and she But full of shit or not, I do appreciate your concern P.S. Clarke, your as deaf as most of the sound visits frequently. over our editorial direction. people here in Portland. Two Louies exists specifically to document the ca- Thanks for picking up the rag. reers of Oregon’s original musicians. (Since you can’t al- Yours Truly, ways trust Steve Duin to get it.) When I’m up to bat for Buck Munger Continued on page 23

TWO LOUIES, January 2002 - Page 3 Camaro Hair @ Dante’s

Page 4 - TWO LOUIES, January 2002 Purple Haired Persuasion by Ford T. Pearson Website pending. Email: [email protected]


Listed In The Studio Guide-Sponsored By Brownell Sound And speaking of the off-the-clock-reduces- stress characteristic, please welcome new re- cording vendor Lavender Lab. “I’m just try- ing to create the kind of studio I wished existed when I was figuring things out,” said Lab operator Tommy Harrington. Tommy honed his craft in Los Angeles and has been in the PDX market for just over 6 months. The lav- KINKY Kudos ender-haired singer/guitarist has a frenetic cadence www.kink.fm and a can-do attitude. “If a client needs session hen was the last time a local radio Red Sector Revamps At Opal Studio players, perhaps some cello, violin, backing vocals station dedicated multiple morn Website pending. Email: [email protected] or whatever, it’s not a problem, and no extra Wing-show segments to the local


Listed In The Studio Guide-Sponsored By Brownell Sound charge,” he added. music scene, just for the sake of making it healthier? Drummer Adrian Ost has split Red Sector to Lavender is a 24 Track 24 Bit Digital facility KINK Program Director Of The Year Kevin audition for the nationally-touring Powerman and Mr. H’s skills include the nowadays-prerequi- Welch has stepped-up his ubiquitous promotion 5000, whose remix of Relax is featured on site ability to wield Pro Tools LE 5.1.1 software. of local-music by bringing a week-long segment Zoolander, and a band looking to replace two re- His set-up includes a Yamaha 01v digital mixing on the topic to the drive-time dominating KINK cently lost members, Dorian Heartsong and Alan console, a DIGI001 24-bit interface with 16 I/O, Morning Show, featuring Welch, Terry Travis, and Pahanish. “We’re 100% behind Adrian and we wish running on a 1.1 GHz Athlon AMD with 640MB his radio-royalness Les Sarnoff. The segments aired him the best of luck with the audition,” said Red th th of RAM and 40GB of hard drive space. Nifty pooter. January 7 through January 11 , right smack in Sector chief Kevin Hahn. I can almost see the test-tubes and nitrogen cool- the middle of the AM drive-time slot. The Red Sector will debut their new drum- ing-vents. Lavender Lab (503) 539-4287. For those of you still face down in your own ham at that time of day, a good chunk of what is considered morning “drive time” covers the wee hours during which throngs of people are migrat- ing from slumber to schlep. And KINK’s numbers (market share) are traditionally very strong dur- ing the coveted time-slot. It’s killer exposure for the bands and venues referenced on the show, and an impressive display of support-local-music am- bassadorship by KINK, which has always been friendly to local artists. I’m still chuckling over Les Sarnoff’s Roselind reference. Among the artists interviewed for the seg- ments were Nu Shooz’s Valerie Day and local song- stress Nicole Campbell. On that show, Valerie and Les were discussing the difference between the area’s music scene now as compared to the 80s hay- day period, during which the Shooz were a top draw, and a time when many bands could actually make a living playing music full time. photo Buko Of course, the dramatic impact of the Dram shop laws was without a doubt the most devastat- ing change to the live music community back then. I think it was Beckman’s Faucet that sounded the mer Mike Collins (Dr. Unknown, Skinhorse, th death knell via the first local venue to be hit with a Thrillbilly) at a Saturday January 12 show at the Have Gear Will Travel monster lawsuit associated with a drunk driver. Cobalt Lounge. After that gig, you won’t be able to http://artists.mp3s.com/artists/160/ Beckman’s insurance rates went up a gazillion per- catch the band until this summer, because they’ll walnut_studios.html cent, and they and many other club-owners bagged be hibernating in Kevin Hahn’s Opal Studio work-


it. Listed In The Studio Guide-Sponsored By Brownell Sound ing on their upcoming CD. When Peter Orloff decided to ditch Seattle One of my favorite statements during that Sound like an enviable pace? That’s just one and return home to Portlandia in the summer of show was made by Ms. Day as she recapped the of the benefits of having a facility in the family. 2000, his plan was a short stay before he went to environment back then. “We worked about 300 The as yet un-named CD will be crafted entirely West Africa to experience the culture and music nights a year,” Valerie told Les. Sure, things were while the band is in Opal Studio, so the artists get first hand, and to refine his mobile-recording skills. different back then. But, as you ponder the viabil- to run sans the stress that often accompanies the Best laid plans. ity of making a living gigging in the ’02 PNW, be “STFU this is costing us a mint” tone common Almost two years later, Peter is still in PDX sure to ask yourself, would you commit to a 300 when you’re on the clock and trying to work and his Walnut Studios is a flutter with various nights-per-year schedule? Got that kind of work through a riff or find that perfect segue. The Red projects. From Demo tapes to church chat, Peter ethic? KINK FM 102 (503) 517-6000. Sector/Opal Studio 503-774-4310. can match the tone of just about any client. “I can turn any environment into a quality

Continued on page 21 TWO LOUIES, January 2002 - Page 5 Weddle from the Flat Irons. Mike Yake, who helped tensity of “Scar.” Weddle’s brooding guitar sets the to produce the project, played bass on five of the dark mood as Jamie enters the scene with a cracked, six tracks included. Doris Dodge have since added croaking voice that could easily pass for Johnette Eric Nichols as the permanent band bassist. Napolitano and Concrete Blonde. Jamie softens the The first cut, “Sweet & Pure” is a pretty bal- second verse by singing an octave higher; such, that lad. Kaineg’s voice is somewhat reminiscent of by the lovely chorus, where Kaineg displays a very Aimee Mann, in her earlier days— when she was compelling upper register, Aimee Mann is again a still heavily leaning upon Chrissie Hynde’s vocal comparison. “It should have never come to this/ mannerisms. Callahan’s 12-string guitar mingles We’ve gone too far/Will we take this chance?/Or with the alternating Major 7th chords of Kaineg’s are we afraid it’s gonna leave a scar?” Brilliant and rhythm guitar, while Brown furnishes lilting Coun- brilliantly rendered. try-flavored sonorities, reminiscent of some of Neil “Let’s Go” is a dusty Folk number that again Young’s early guitar work. A powerful chorus, with hearkens to Neil Young in his “Cowgirl In The Callahan providing strong high vocal harmonies, Sand” period. Callahan’s electric 12 string guitar helps to solidify Kaineg’s charmingly simple sonic filigrees and mournful slide guitar wails give the conception. song a cactus desert, sunbleached steerskull sense A haunting, Mexicali theme pervades of detail. “Ophelia.” Brown’s succinctly subtle guitar machi- Weddle etches a memorable guitar figure onto the 12/8 march of “Sink Or Swim,” where Jamie displays a fine vocal range and a knack for comely melody. “So Rememberin’ Him” could easily be taken from the Natalie Mer- chant/10,000 Maniacs songbook. A loping, ar- rangement, accompa- Doris Dodge— Doris Dodge nies a gypsy melody, cer- Self-Produced tainly worthy of Mer- oris Dodge have chant, for what that been together for a might be worth. D little over a year Jamie Kaineg now, presenting a straight-for- evinces enormous talent ward, Folk-tinged form of Rock. as a vocalist. Her voice is Formed from the remnants of richly evocative, warm the band Foma, singer and and alluring. While her rhythm guitarist Jamie Kaineg songwriting shows occa- and drummer Brian Smith ini- sional bright spots (es- tially secured the services of bass- pecially “Scar”) there is ist Brent Williams (drummer/ not always enough sub- producer Greg Williams’ brother, stance in the material to formerly of Lodestar), but he sustain interest. later left the band, before the Not every musician tracks submitted here were re- is gifted with a fine voice corded. and the ability to write Lead guitarist Maria great songs. Generally, Callahan was added to the line- both crafts require great up as well. Curiously enough, amounts of time and ap- Callahan was a founding mem- plication in order to suc- ber of Doris Daze. So the band ceed. At some point name is particularly apt. Doris Kaineg may have to look Dodge, however, is named after outside her own oeuvre Kaineg’s trusty Dodge automo- in order to secure mate- bile. Here, Callahan is utilized in photo Buko rial worthy of her voice. purely a backup role, playing 12- Certainly Callahan string guitar on some tracks, could be an invaluable while contributing superb backing vocal harmo- nations help to lend Kaineg’s plaintive tale in- ally in the songwriting department. Her experience nies. Kaineg wrote or co-wrote all of the half-dozen creased tensility. Again, Maria’s harmonies create as a songwriter could benefit Kaineg somewhat in songs presented on this EP. dimension for Jaime’s dusky alto vocal delivery: developing her abilities. Or perhaps a songwriting In addition, for the purposes of this record- who, at times here, calls to mind a post-nodal Stevie partnership...? Whatever the case, it seems certain ing, Kaineg and Smith enlisted former Foma lead Nicks. that we will be hearing more from Jamie Kaineg guitarist Ben Brown, as well as guitarist Scott But the true hit of this set is the gripping in- and Doris Dodge in the future. Continued on page 8 Page 6 - TWO LOUIES, January 2002 RECORDING CONTRACT ADVANCES If anything is left over, the band will pocket the istic) situation, which I am exaggerating here to ne of the most frequently discussed, balance. Theoretically this is designed, among make a point. and most hyped, aspects of record other reasons, to give the band an incentive to Let’s say that a band receives $200,000 for the O ing contracts is the issue of advances. record the band’s albums as cost effectively as pos- first album, and (to make it very simple), let’s also Generally speaking, advances are designed to sible, since the band gets to keep whatever money say the record sells zero units and therefore gener- cover recording costs, and also (at least in major label situations) to provide a certain amount of money to cover some of the band’s miscellaneous other expenses. A separate advance is paid for each album recorded by the band for the record com- pany. Recording contract advances are often mega- hyped in press reports. For example, it is not un- usual for a record deal for a new band to be hyped as a “million dollar deal,” whereas in fact that “mil- it does not end up spending on recording costs. ates absolutely no royalties. Then the band records lion dollars” is to cover, for example, the recording However, as a practical matter, however, even bands a second album for $250,000, and that record also budgets for four albums at $250,000 per album, paid on this “recording fund” basis frequently run generates no royalties. So, when starting the third all of which will be recoupable from the band’s over-budget. album (assuming that the band has not already future royalties. Also, even in the case of this “recording fund” been dropped from the label at that point, which A relatively small portion of that money will structure, there will often still be a recording bud- obviously is a very, very questionable assumption), go into the band’s pockets as cash advances, and get drawn up so that the record company will have the band is going into the third album already even that portion will be further reduced by de- some assurance that the band will not be trying to $450,000 in the hole. (In reality, the band in that ductions for management commissions, taxes, etc., record the album too cheaply or too expensively. scenario would likely be even further in the hole, with the balance then usually spent soon thereaf- Under many contracts for new bands, the band will due to the record company’s recoupable advances ter for living expenses, new equipment, etc. And, not be entitled to start the recording of an album to make music videos, etc.) If the band then gets an advance for the third album of another $250,000, then the band is al- ready $700,000 in the hole when the third album is released. As a result, the band will see absolutely no record royalties from the third album until the total royalties from album sales exceed the amount of $700,000. In short, the record company has the right to recoup from an album’s royalties not only the advance for that album, but also any past ad- vances for earlier albums which have not yet been recouped. like advances for recording costs, any such cash until the record company approves the budget. There is also the “rolling accounting” prob- advances will be entirely recoupable by the record Typically, part of the recording fund will be lem to consider. Often once royalties are starting company from the band’s future royalties. paid at the beginning of the recording project (of- to be earned on a prior record, the recording com- “RECORDING BUDGETS” ten one-half), with the balance to be paid upon pany is just starting to pay the costs of the next AND “RECORDING FUNDS” the band’s delivery of the masters to the record record, and deducting the new costs from the roy- There are two different ways in which record- company. alties about to be paid. ing contracts can deal with the issue of advances: ADVANCES ARE NOT GIFTS If the band’s total royalties ultimately end up (1) By providing for “recording budgets”; or (2) Advances are, in effect, merely loans to the being less than the total advance(s) paid to the By providing for “recording funds”. In other words, band, which will be deducted by the record com- band, the record company will, under the terms of the typical recording contract will be structured pany from the band’s record sales royalties, but only the usual recording contract, have to “eat” the either on a “recording budget” basis, or alterna- from those royalties. shortfall, since the record company will only be tively, on a “recording fund” basis. So if the recording costs for an album (and entitled to be repaid from the band’s record sales 1. “Recording Budgets.” In the case of record- related cash advances to the band) are $200,000, royalties. The band members will not be person- ing contracts based on “recording budgets,” the record company pays the recording costs directly to third parties, such as recording studios, based on recording budgets to be approved by the record company. The record company holds on to the money until the costs are incurred, and then makes payment for those costs directly to those third par- ties (such as recording studios). The record company may also advance the band, separately, a certain specified amount of and the album generates $300,000 in royalties pay- ally responsible for repaying the advance, hence money for the band’s anticipated living expenses able to the band, the record company will reim- such advances are generally referred to in record- during the recording project, and sometimes for burse itself (recoup) from royalties the first ing contract legalese as “recoupable but non-return- other expenses as well. $200,000 (in order to reimburse itself for the able advances.” Any band being signed should be 2. “Recording Funds.” In the case of “record- $200,000 advanced), then pay the band the remain- sure that its recording contract contains similar ing funds,” on the other hand, the record company ing $100,000. wording. pays a certain specified amount of money directly The record company’s right to reimbursement to the band on an album-by-album basis, which is carried forward from album to album. Let’s take, the band then uses to pay for recording costs, etc. for example, an extreme (and admittedly unreal- Continued on page 19

TWO LOUIES, January 2002 - Page 7 Semisonic— quirky, heartfelt and melodic. The that they are more than merely the sum of their secret extra track is a madcap little number with influences. Wells, especially, distinguishes himself racing Spanish guitars and an off-kilter ‘60s sensi- as a vocalist and songwriter, while the other mem- bility and a story line that may or not involve necro- bers help to flesh out the nuances the songs pro- philia. But hey, it’s all in fun. “It’s all so obvious, vide. As the band grows and matures, it would seem Continued from page 6 why didn’t I suspect/It must be supernatural at- they would elevate the level of their songwriting Hooks & Crutches— Rally Boy traction.” as well. They have a good start. Ii will be interest- Jealous Butcher Records Rally Boy are definitely a cut above the aver- ing to see where they take it from here. ally Boy have been around the local age bar band. Their musicianship is tight . Their The Electric Haze— Dead Poets Society scene for a few years, slowly garner approach is simple, straightforward and absolutely Self-Produced Ring attention for their AltRock to the point. Continued improvement in their ave you ever heard of Sonic Foundry? sounds; drawing comparisons to the likes of Big songwriting will bode well for this likable four- Well Dead Poets Society have. And Star and Yo Lo Tengo, while making a splash per- some, for whom the future seems bright, indeed. Hthat combination proves the old ad- forming at a recent CMJ conference. With three Episode— Distracted age: “A little software is a dangerous thing.” Af- songwriters in the band, the Boys are loaded with Self-Produced forded a modest library of Sonic Foundry loops, diversity and the sort of DIY spirit that made stars ere’s an enterprising young quartet this trio entertain visions of Techno grandeur. of Stephen Malkmus and Pavement. who exhibit a lot of potential, hav As such, this recording stands as a great dem- Rally Boy are nothing, if not versatile, vary- Hing gathered influences from some onstration of what beginners can do with the Sonic ing their attack from song to song on this six-song of the Post-Grunge movement’s finest purveyors. Foundry software. This project sounds good. And, EP. They start things off with the rousing anthem Distracted display a propensity for heavy, execut- while painfully awkward in places (some transi- “Undrest.” The churning blustery guitars of Dan ing their parts with guillotine-like efficiency. tional passages, especially), there is some reason Blaker and Ryan Matheson kick the song off, with Recalling, perhaps slightly, Pearl Jam’s “Jer- to believe that these novices will develop further, a moaning riff akin to that found on the Breed- emy,” “Shane” is the tale of a physically abused kid, perhaps to the extent that they can eventually cre- ers’ “Hammer.” But soon the song unfolds, sound- punctuated by the blistering guitar attack of vo- ate something original on their own. The problem lies in the fact that the three culprits here: Wa, ostensibly playing percussion and keyboards, while doing the “songwriting” and some of the programming; Raven Nightshado, who apparently adds more keyboards, as well as the ever popular “artistic mutilation”— and Tim Gibson (somehow his name seems out of place in this set- ting), who plays, yes, keyboards and “all things ing like Green Day doing a ‘60s Who tune. Jagged calist Gavin Wells and lead guitarist Ario Lynch. stringed.” Presumably that would include some of powerchord shards play against arpeggiated notes, Lynch’s subdued solo in the middle, gives evidence the bass sounds and the guitar— which makes oc- creating a powerful and melodic guitar onslaught. of taste and restraint. Offspring and Sponge also casional appearances throughout the proceedings, The song is a tale about misplaced commitments come to mind as possible influences, as well. and distinguishes itself among much of the pre- and love gone awry. The band makes the declara- Over Greg Nibler’s heavily flanged bass, Wells recorded, sampled loop brouhaha. tion “When your dress falls down/I want to be the intones the vocals on “Salvation,” a song that starts Not so successful are the frail attempts at uni- one who’s standing there” sound like a pitiful re- out quietly enough, before exploding into the sec- versality and “world consciousness,” wherein the quest for solidarity in the face of infidelity. Still, ond verse. Stone Brooks’ sure-handed drumwork lads hopscotch haphazardly through some long- it’s a brilliantly wrought piece of work. helps to secure the foundation while Lynch pro- revered musical cultures, as if they were pulling Taking another tack altogether, “Stuck” finds vides the overdriven guitar pyrotechnics. plates of musical unagi off the conveyor at Sushi Justin Scott turning out a bouyant bassline, pro- “Down Here’ begins as a poignant ballad, that World, constructing nada. pelling the song in a soulful style over the relent- slowly gathers momentum through the verses, fi- On the positive side, Mr. Wa seems somewhat less chugging train that drummer Bob Ham engi- nally resolving into the expected fury , a full three adept at pasting together viable drum loop se- neers. it’s as if Squeeze met Pavement to do a minutes into the song. A nicely developed piece of quences, upon which the others layer all this other Creedence Clearwater song. Through the verses, work. “Temporary Minds” too, slowly builds in stuff. And, as mentioned, Tim Gibson seems to have Scott’s “The Check-Out” is vaguely reminiscent of a Cure song, with guitars flitting like rain on a windshield. However, the song magically explodes in the chorus, with hard crunching chords accent- ing melodic vocals. Cool. Blaker adds a fluttery clarinet to transitional sections of “Low E,” as a soaring guitar swirls at- mospherically around chunky rhythm guitar, while Ham bashes out accents on a garbage can lid. Somehow, it all works. “Slang-Tips” is more intensity, as Brooks artfully maintains a treacher- some command of the guitar, and possibly the bass. angular and aggressive than the other tracks, pur- ously 11/8 time signature underneath the moan- It is unclear at this time as to whether Mr portedly a “paranoid rant about linguistic purity” ing and crying guitars of Lynch and Wells, before Nightshado’s “artistic mutilation” are part of the (whatever the hell that’s supposed to be), it is, in resolving in 12/8 time, which seems straight-ahead problem or the solution. reality, simply an excuse for the boys to go off for in comparison with the frenetic pace of the first But the problem, and this is a tip to all you a couple of minutes. half of the song. Very nice. kids out there experimenting with these loop pack- The band redeems itself however, with “Sub- Distracted exhibit solid musicianship ages available at a music store near you: if you use marine,” a tune reminiscent of the work of throughout the six songs submitted here, proving Continued on page 20 Page 8 - TWO LOUIES, January 2002 An Unreel World Don Ross Productions Lake Oswego 3097 Floral Hill Drive (503)639-9364 Eugene, OR 97403 Email: [email protected] (541) 343-2692 Fax: (541) 683- Owner: Karin Kopp 1943 Email: [email protected] Anonymous Noise www.donrossproductions.com (503)248-2136 Owner/Engineer: Don Ross Owner: Karl Brummer Tracks: 32 track Digital, 24 track Analog Apache Recording Studios Rates: $70.00-$85.00 4009 E. 18th St. Equipment: Otari MTR90 II 24 Vancouver, WA 98661 track 2‰ Analog, Digidesign Vancouver phone: (360) 694-5381 Pro Tools Mix + w/ 3-888 24 I/ Portland office: (503) 293-9266 O‚s, SSD, Waves gold bundle, Bomb Factory, Meek & many Big Red Studio other plug ins, 24 trk. 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Mic‚s: Neumann U87‚s Genelec monitors, Mike Spitz ATR 100 Rockman Guitar preamp, Rockman Portland, OR 97209 (mods by Klaus Heyne), KM84‚s(mods 1/2" Mastering deck, Tascam DA 45R 24 Stereo Delay/Chorus, Roland SRV (503) 295-2712 by Kaus Heyne), Lawson L-47MP tube, bit Dat Machine, Panasonic 3800 Dat Reverb, Roland SDE 1000 Delay, Art SGE Email:[email protected] AKG 460‚s, 451‚s, Sennheiser MD 421, machine, Dennon cd player, Dennon Mach 2 Effects Processor, Alesis Midi Web:www.bluedogrecording.com EV RE20, 408B‚s, Shure SM7‚s, SM53‚s, cassette decks, Mytek digital Mastering Verb, BBE 802 Exciter,JBL 4311 Owner: Bruce Robertson & 57‚s. Other Important Stuff: 1927 meter, Z-Systems 16 i/o digital router. Monitors, Auratone Monitors, KLH Steinway M grand piano, Kurzweil PC88 Clients: Sony, Loosegrove, Sub Pop, Monitors, Panasonic 3700 Mastering Ronn Chick Recording MX, Ensoniq EPS, Opcode Studio 3, JL Astralwerks, FT Records, Resistor, Machine, Otari Analog 1/2 Track 1209 NW 86th Circle Cooper PPS-100, dk10 KAT, Alesis D4, Shortwave Records, Estrus, Elemental, T/ Mastering machine; wide selection of Vancouver, Washington 98665 Pre CBS Fender Super Reverb, Zoom K Records, Top Secret, Darla, Rain mics: (AKG, RODE, SENHEISER, E.V., (360) 571-0200 9050, JVC CR-85OU 3/4” video deck w/ Records, Burnside Records, Jus’ Family SHURE, BYER, AUDIO TECHNICA) Owner/Engineer: Ron Chick SMPTE address trk., Sony video Records, Bombay Records, M.A.H. MIDI EQUIPMENT: Mac G-4 w/ monitors 13” & 20”, Fostex 4010 SMPTE, Records, Empty Records, Dohnut CUBASE 5.0 Atari 1040 ST, Proteus 1 Dave’s Attic Productions Symetrix TI-101 phone patch, Telos Records, Rainforest Records, Cool Nutz, Sound Module, Yamaha TG100 Sound Washington Square Area Zepher ISDN patch & a Braun10 cup Satan’s Pilgrims, Jesus Presley, Silkenseed, Module, Zoom 123 Drum Machine, Portland, OR coffee maker. Chata Addy, Gino Vanelli, Land of the ESQ-1 Keyboard, Casio Midi Guitar (503) 768-9336 Clients: Sony, Disney, PBS, Mason Blind, Ken De Rouchie Band, Hungry Clients: Greg Baker, Sid Brown, Bobby Owner: David Fleschner Williams, Beth Singer, Justin King, Sugar Mob, Life Savas, Live at Laurelthirst, Daltry, Jodie York, Paul Bermen, Ralph Beets, Paul Chasman, Byron Berline, Izaya, Heavy Johnson Trio, Daylights, Archenhold, Julie McClusky, GJ Rose, Dead Aunt Thelma’s Studio Strangers, Multiple Sarcasm, Betmars, Hummingfish, Kerosene Dream, Vivian’s Keeper, LaRai, Money&Lovin, PO Box 82222 Babe‚s with Axes, Terry Robb, David Loveload, Jollymon, Gus Van Sant, Sentient, John Myers, Lodown, Peter Portland, OR 97282-0222 Jacobs-Strain, T.R. Kelley, Debbie Systemwide, Grindstone,Floater, Dammon, John Hoffman, Pudding River (503) 235-9693 p Diedrich, Boogie Patrol, Tracy Bonham Countrypolitans, Here Comes Bluegrass Band, Steve Rudeen, Stirling (503)238-9627 f & many more-check out web site music Everybody, Mel, E-40, Sally Harmon, Wolf, Al Pasque, Marc Hansen, Les Web: www.thelmas.com client list at Rattling Thunder, Dickel Bros, D.B.A., Ouvier du Christ, Grafton Street, Enuf, Studio Manager: Mike Moore www.donrossproductions.com. Ras Kass, Kurrupt, B-Legit and many, Chutzpa, Dead Roses, Dana Libonoti, Office Manager: Nicole Campbell many, more. John Lansing, Truculence, James Kinney, Owners: OCP Publications Falcon Recording Studios (Please check out our website for a more Christine Young, John Gilmore, and 15A S.E. 15th complete list). Stuart Wyan Trio. DeFunk Audio/Sonare Mastering Portland, OR 97223 4531 N. Albina Street (503) 236-3856 Fresh Tracks Studio Gung Ho Studios Portland, Oregon 97217 Fax: (503) 236-0266 Southeast Portland 86821 McMorott Lane (503) 288-3353 Email: [email protected] (503) 235-7402 Eugene, Oregon 97402 Email: [email protected] Contact: Dennis Carter. Email: [email protected] (541) 484-9352 Owner/Engineer: Sean Gilbert Web: www.freshtracksstudio.com Owner: Bill Barnett Owners: Jon Lindahl Doctor Digital; The Sync Ward Studios Engineers: Jon Lindahl and freelance Portland, OR engineers. (503) 892-0043, 1-888-373-4485 Tracks: 32, 24, 16, & 8 ( 24 traks hard disk) 16 tracks of digital & 16 tracks of Email: [email protected] Continued on page 14 Owner: Mark Frethem TWO LOUIES, January 2002 - Page 9 KINK fm102 hosted a great event for the food bank on December 8th at the Roseland featuring Joshua Joplin, Curtis “All World” Salgado, Taj Mahal and Robert Cray. I arrived early enough to enjoy a ballsy sound check from Curtis and chat with his keyboardist D.K. Stewart whom I’ve tan- talized (begged!) with an invitation to help in a band I’ve started with the Cray bands first drum- mer Tom Murphy, based around a New Orleans style of blues called “second line”. My main mis- sion for the evening however was to talk to Robert about an upcoming event for the Oregon Music Hall of Fame that could involve the Portland pre- mier of Sue Turner Cray’s (Roberts Wife) movie inspired by the bright yet tragic life of Portland musician Richard Burdell. ave you ever wondered what the “Portland sound” is? Could it be this H papers namesake, the cornerstone of rock itself “Louie Louie”? Maybe. Could it be Quaterflash? How about Dan Reed? Billy Rancher?, Johnny Koonce is a good choice? How about newer bands like “Cherry Poppin Daddies” “ Sweaty Nipples” “Gravelpit?” or now bands like “Craving Theo”? These are all good choices and you can see how we could go on forever with out determining one band or song that well defines our unique, di- verse and often challenging music environment. These days more than a brief glimpse of stardom is rare indeed and now that pop music is a world wide enterprise consisting of thousands of record After waiting several hours in the green room, companies and millions of new entries almost ev- my first contact with Roberts band was when ery day, who knows if one song, band or entertainer drummer Kevin Hayes slogged by me mumbling will ever mark Portland with a signature sound or something about being well beyond tired, I found style. It may be that not having a label (no pun out later that they had just finished a hundred and intended) means we have no limits as well. Does one show tour and were headed home for a well New York have a sound? Does Los Angeles? It may deserved rest, they then proceeded to play one of be that Seattle is now limited in terms of immedi- the best sets the I have ever heard this band play ate national acceptance for new music because of including a fresh sounding version of Smoking the now historic “Grunge” tag and has San Fran- Gun and several other older tunes that the band cisco ever been recognized for any sound that had offered as a special treat to his loyal Cray-o-holic more impact than what happened in the sixties and fan base. seventies? Long Live the Denny Beatle! To me the best vibe to create in is one that It was George Harrison that first inspired me has a very soft border, a dimly lit room with blurry to stand in the middle to “play my fiddle” creatures moving in uncertain directions, the feel- So I thought it would be cool to mention some ing that mistakes made as a result of experimenta- of the guitars George used while he was in the tion are better than pecking out a pre determined Beatles. result that becomes tedious and repetitious on A Dutch-made Edgemond, a Hofner Presi- command just to kiss trendy pop culture butt. We dent, a Hofner Club 40 electric, a 1961 Czech made still have this scene in Portland and we probably Futurama, a Zenith, a 1957 Gretch Duo-Jet model always will. 6128, a Gibson ES-335, a Gibson J-160E, a Gretch There is one entertainer that stands above the Chet Adkins Country Gentleman, a Rickenbacker rest in my opinion. Curtis Salgado. 425, a Maton MS-500 Mastersound, a 1963 Gretch Even though blues has some limits they can Tennessean, a 1963 Rickenbacker 360-12, a Ramirez always be pushed. Portland is recognized, as a blues Classical guitar, a Gretch electric 12-string, a Sonic town to many people around the country and Curt Blue Fender strat, a Framus Hootenanny, another is probably one of the reasons, as he seems to tour Rickenbacker 360-12 (1965), a Gibson ES-345, a quite often and represents us well all over the world. 1965 Gibson SG Standard, a Gretch 6120, a Burns Rock and roll was born from blues and blues is Nu-Sonic bass, an Epiphone Casino, a Vox born from Jazz which is probably the only art form Kensington, a Coral Electric Sitar, a Gibson J-200, born in America. a Gibson 57 Gold Top earlier owned by and refin- Blues is also a “melting pot” music, a com- ished for Rick Derringer then given to George by mon denominator easily felt by most humans with Eric Clapton, a Fender Bass VI, and a heavy but ears and, if that is our main tag it could mean that killer all Rosewood custom Fender telecaster (a we still have an open playing field with good pitch- similar model can be seen at Portland Music’s MLK ing and fielding, we just need some band to smack store!) Curtis Salgado 2001. the ball hard enough heard around the world. Long Live the Denny Beatle! LL

Page 10 - TWO LOUIES, January 2002 ey Two Louies readers! 2001 is most every moment this year. I find him to be not writing about, or capturing the magic and over and I feel a weight has been an inspiration. Sometimes Portland is not a sup- talent that is a fleeting force of nature. I also H lifted from my working girl back. portive town. There’re so many people with tiny enjoyed working with Jessica Flores, who is their It’s hopeful to see a fresh year peaking around little axes to grind and major agendas. When Production Manager. She does great work keep- the bend. I’ve been to three you see the dancers at Oregon ing the ballet running smoothly with efficiency, funerals in two weeks and Ballet Theatre and you know humor and cool. the wind is cutting the people that remain with the or- I spent Christmas Eve in a beautiful old through the ganization, you realize that the press is house on NE Tillamook. I got to speak with the Willamette painter Tom Kramer who I find exciting and sexy. He said he’s on his way to India and was thrilled that James Canfield and Oregon Ballet Theatre are taking Jungle, (which Tom did the Rosebud set and costumes for) to New York City in July. Steve Birch was in attendance and was politely attentive. He’s such a charming person when he Valley with an wants to be. He shared that his new band is go- arctic bite. The rev- ing out on tour, as I happily looked into erence I feel for the mighty names of his dark brown eyes. the dead is overwhelming. Life is great, I spent a delightful Christmas if you can look at it that way. I want it with painters Lauren Mantecon and to snow like Buffalo. Cecilia Hallinan. The rest of the table I know I’ve said enough about included filmmaker Ben Ellis and his Shelby Lynn, but she’s my pick of the cohort and dear friend Tres Shannon month because I got to see her live, front from X-ray Cafè days and Kurtz row center at the Aladdin Theater on De- Project. It took a while to warm up cember 1st. It was a great show and I still the room. Tres and Ben gave me love Shelby! some shit about being a River Phoe- The Le Happy Christmas party was nix groupie years ago at The Pine filled to the gills with Portland’s beauti- Street Theater when TuTu Band ful people. Paige Powel was there along played the wrap party for My own with Heidi Snellman, Bridged O’Connor, Private Idaho. I admitted that I did John Brodie, Thomas Lauderdale, and the have a crush on the boy, but no lovely China Forbes. The food was great, more than the crush I had on three the drinks flowed, and a cheery time was other people that night including had by all. my husband. I thought about it It was an honor working for the Or- and decided to rub it in that River egon Ballet Theatre on Nutcracker this year. Phoenix ended up jamming on I’m happy to report that the company is the song I sang that night. We did filled with talent and the unity and frater- a rousing rendition of Rolling on nal feeling backstage was wonderful. Many the River. We changed the words of the dancers have blossomed in the last to fit the legend of Portland, the three years. Alison Roper danced the boys club, and all the Gus SugarPlum fairy with confidence and beau- VanSant stuff that was ruling the tiful strength. James Canfield continues to town. It was a great time and I survive the bad press he receives with opti- will make no excuses. I love River Phoenix! He mism and energy. He was with the ballet al- is missed like all the rest of the dead people. I find the arrogance of the living annoying and such a drag. Is it just this country that celebrates life so exclusively? Anyway, after dinner Ben, Tres, Lauren, Cecilia and I went for a walk in the park in the freezing cold. We got a second wind, came back to the house and sang together. We drummed on the table and harmonized. It was great fun. I flew non-stop and spent a rainy night in Atlanta, Georgia weeping at the funeral of my beloved sister Sally. I also attended the funerals of Prop Master Jeff Dabil and carpenter Jimmy Minjarez that were both my friends. May all my brothers and sisters rest in peace. Hang on it’s going to be a wild, wild ride! Write to me: [email protected] LL

TWO LOUIES, January 2002 - Page 11 The “un-recouped artist.” “In an unorthodox move, Smith’s label,  Record label code for an act that hasn’t Dreamworks, has agreed to allow him to Chris Newman is back in town. sold enough records to pay for the recording release the tentatively titled From The If Elliott Smith really wanted to be on and promotion costs. Basement on The Hill via the imprint of his an indie label that did it for All the Right Still in the red on the books. choice.” Reasons, he’d be on Flying Heart Records. An act that the high powered phone stars “Smith hasn’t chosen a label, but he Flying Heart launched in ’88 with blues and in the promotion department couldn’t make hopes the album will be on shelves this jazz issues and shortly thereafter signed ultra happen at least once, or maybe even twice. spring.” alternative power trio guitarist Chris It’s a terrible position to be in as an artist “Smith’s management says the decision Newman & Napalm Beach. Flying Heart because you have no clout and no way to win to seek an alternative home for his sixth issued six Newman projects over the years new friends in the company. Un-recouped album reflects his present disillusionment including two Napalm Beach albums, (One artists aren’t welcome wandering the halls of with the state of majors in general, not just recorded in Germany) 3 Snow Bud & The the major label rallying the troops. Dreamworks, which he’s called home since Flower People lp’s and a Chris Newman solo Jon Koonce remembers. 1998” lp entitled “Volunteer”. When Johnny & The Distractions “Before Dreamworks, Smith recorded Chris Newman was a musical bounced from a plug in Rolling Stone to a for indies Kill Rock Stars and Cavity Search. contemporary of Kurt Cobain and even the deal with Herb Alpert’s A&M Records in While certain high-profile acts, most notably subject of a Courtney Love crush in the old Hollywood Jon found himself starting all over Beck, occasionally ink contracts allowing for days, (According to Melisa Rossi’s Love bio; in the pecking order. When the first album indie one-offs, Smith’s agreement with “Queen Of Noise”) Unfortunately, along with didn’t take off immediately the label’s attitude Dreamworks was exclusive. At the conclusion attracting the same women, Chris shared cooled quickly. “They went on to other of the cycle for his next album, Smith is Kurt’s worst habits and left Portland years ago things.” Unfortunately for Koonce A&M had expected to return to the major”. behind un-resolved substance abuse issues. also just signed another leather jacket Fat chance. On the lam, I think they call it. frontman named Bryan Adams, and his first Smith’s Portland buddies say this is a Sources say Newman and his wife got single; “Cuts Like A Knife” went huge. nasty divorce, not a civilized trial-separation. back to town before Christmas and shared Koonce found out in the major label “Dreamworks has been spreading shit the holidays with Flying Heart label owner galaxy the “un-recouped artist” is the lowest about him that’s not cool. Just be wary of Jan Celt and his family. life-form on the planet. Limited input on what they say about their deal for his Chris Newman is booked for a show at packaging graphics, release dates, radio ‘sabbatical’...I can guarantee that reality will the Ash Street Saloon January 26th. singles and regional activity. You might as well play out different...” have “owes us big-time” tattooed on your  forehead.  The year in fractures. The failed releases are always due to Calvin Baty is getting the major label Who got the biggest breaks? product, never to promotion. treatment. Oregon’s music trade publication- In the end, they always blame the music. His band Craving Theo hits the stores named after Portland’s Greatest Hit- the Two on Columbia Records January 22nd. Louies Magazine, selected 12 artists in 2001  January 26th the band celebrates with an to grace the cover-representing our picks for After two stiffs at Dreamworks Elliott all-ages record release party at the Roseland continued music industry success. Smith is finding out what it feels like to wear Theater. Baty has spent the past few weeks in None of them let us down. the sign around your neck at the corporate Hollywood filming a music video. January/Carmina Piranha, February/ meetings; “un-recouped artist”. The clock is ticking for Craving Theo Craving Theo, March/Stephen Malkmus, Relationships are so strained Elliott’s (Remember Slowrush on Epic?) Typically, the April/Cowtrippers, May/Jonah, June/Dahlia, next album will come out on an indie label, major labels work a new release to radio for July/Baseboard Heaters, August/4th Plane which would indicate a corporate vote of No three weeks. The “Radio Add Day” for Jaiant, September/Del Toros, October/ Confidence in the material. Craving Theo’s single “Alone” was November TV:616, November/Cool Nutz and Rolling Stone.com sez “Elliott Smith will 6th and as yet no sign of it on Billboard’s December/ Jon DuFresne. return to the underground well from which airplay charts. They had a tough year to make it in. he sprang”.

Page 12 - TWO LOUIES, January 2002 At the beginning of last year local MATCHBOX 20 guests are locked out of the building for two recording artists were reeling from the 2000 AND THE ROADIES REVENGE hours while MB20 does their sound-check in Soundscan numbers that showed of the 6,188 Weeks later, when the MB20-EC show the empty hall. Proving once and for all, it is, albums released in 2000 only 50 had sold a comes to Portland, home-boy heroes in the end, the Matchbox Twenty Tour. million (Platinum) units, 65 went Gold (500,000) and only COLLEGE RADIO LEGEND 356 sold over 100,000 units. LAUNCHES FROM PDX Or, As the LA Times Pavement hero Stephen called it, “A 90% Flop rate.” Malkmus drifts into town (The numbers are even worse and forms a band to snag a this year-but that’s another solo deal on Matador story.) Records. Before the year is As depressing as the out the record climbs to #1 numbers are, they’re proof on the CMJ charts, Malkmus Portland gets way, way more is picked and promo’d by than our share of the country’s USA Today, linked with original music action. Winona Ryder in Entertainment Week, and acclaimed as the standout act  at 2001’s South By Southwest The year of 2001 in in Austin, Texas . Mister review: Malkmus credits his recent success to discovering Jicks PINK MARTINI bandmembers; (Dharma UPSTAGES BOB DYLAN Bums) drummer John Moen The music business and (Elliott’s Smith’s buzzed for months about Bob girlfriend-engineer) bassist Dylan recording “Return To Joanna Bolme in Portland’s Me” for the soundtrack of (“cheap studios”) original HBO’s Sopranos. Show day, music scene. most Oregonians are more impressed to hear Pink EVERYTHING STILL Martini’s “No Hay Problema” DANDY AT CAPITOL in the same episode and two The Dandy Warhols other Pink Martini recordings spent the year living up to “Song of The Black Lizzard” their worldwide reputation and “Andalucia” in other as the Best British Band Sopranos episodes. From America, touring Europe’s finest festivals and EVERCLEAR photo David Ackerman venues generating the fab UPSTAGES MATCHBOX 20 gear overseas music press Touring behind Songs Chris Newman. buzz only the United From an American Dream Kingdom can deliver. The Everclear gets a great live review from Rolling Everclear are scheduled to host 100 school Dandy’s second Capitol release. 13 Tales From Stone who say EC blows MB20 off the stage, children for a Northwest NARAS Chapter Urban Bohemia goes Gold in Australia and and quotes concertgoers with gems like “Grammy Sessions” workshop at the the single “Bohemian Like You” hits #1 in “Everclear blew the roof off, and Matchbox scheduled 4PM Everclear Sound Check. Portugal. The Portland music scene’s favorite 20 spent the rest of the night putting it back Grammy Session Day MB20 cancels the EC major label heavyweight; Perry Watts Russell, on.” Backstage tension mounts . sound check and EC’s hundred NARAS the Capitol A&R executive instrumental in Continued on page 22 TWO LOUIES, January 2002 - Page 13 to speak to a person. Clients include: Dfive9, Hell Candidates, The Lavender Lab For Live Sound recording: 1-2 Alesis Jen Lane of Barfly Magazine, Tillamook Recording & Graphic Design Adats are available. The tracks are then County Fair in association with SE Portland (near39th and Powell) mixed down and mastered to DAT. The Starshine Sound, Rorschach Test, Stage (503) 539-4287 turnaround time is usually two weeks Phryte, The Natrons, Witch Mountain Email: [email protected] and the cost starts at $200.00 for the and many other locals. Owner/engineer/producer: Lavender Tommy whole package. I also do studio work Other: Bill Cushman is House Engineer Tracks: 24 tracks of 24-bit digital audio. (subject to availability) at the rate of at Club Satyricon and he invites you to Equipment: Pro Tools LE 5.1.1. software Continued from page 9 $20.00 per hour. come in and say hello. As owner of and DIGI001 24-bit interface with 16 I/ Equipment: For PA System Rentals: For Intersect Sound, he guarantees O, running on a 1.1 GHz Athlon AMD Haywire Recording example PA system “A” consists of the reasonable rates, professional service and with 640MB of RAM and 40GB of hard Southeast Portland following: Console: Soundcraft Spirit well maintained gear—delivered, drive space. Plug Ins: BombFactory P.O. Box 66381 16x4: Signal processing: Yamaha Rev-7, operational and on time! Classic Compressors (1176 & LA-2A), PDX OR 97290 Midiverb 3, BBE sonic maximizer 322, FREE MULTI-TRACK RECORDING OF MoogerFooger Lowpass and Ring 503-775-7795 Aphex aural exiter type B, 2 Alesis 3630 YOUR BAND AS PART OF PA SYSTEM Modulator, SansAmp PSA-1, Voce Spin, Email: [email protected] dual compressor/gates, JBl m644 4 RENTAL PACKAGE. (mix down and and Voce Chorus & Vibrato; DigiRack: channel gate, DBX 1231 dual 31 band 1/ mastering not included). OFFER GOOD Compressor, Limiter, Gate, Expander- Intersect Sound, Inc. 3rd octave eq, 2 Alesis Meq 230 dual 31 UNTIL DECEMBER 30, 2001 Gate, De-esser, 1 and 4-band EQ, Delay, Portland, Oregon band octave eq, Fender pcn-4 stereo 3 Gain, Reverse, Pitch Shift, and 503-649-7741 way cross-over. Speakers: 2 JBL active Jackpot! Recording Studio TimeCompression/Expansion; D-Fi: Lo- E-mail: [email protected] mid-hi packs, (l 15" & 1 2": driver with 1" 1925 SE Morrison fi, Sci-fi, Recti-fi, and Vari-fi; D-FX: D- Web address: www.geocities.com/ horn each) 2 JBL active subs, (2 15’s, Portland, OR 97293 verb, Flanger, Multi-tap Delay, Ping-pong intersectsound front firing & ported each), 4 floor (503) 239-5389 Delay, and Chorus; Focusrite D2 Owner/Engineer: Bill M. Cushman wedge monitors, (1 15" & 1 2" driver [email protected] EQ and D3 Compressor; Metic Halo Intersect Sound Inc. specializes in PA with 1" horn each), 1 Yamaha drum fill, www.tapeop.com Channel Strip SP; Digidesign Maxim System Rentals for festivals, small bars & (1 15" & 1 “ driver with 2” CD horn), Owner: Larry Crane Mastering Compressor; Speed by Wave clubs, civic functions, church & Microphones: 4 Shure sm 58, 6 Shure Mechanics; and Antares AutoTune. community events, private parties & sm57, 4 Audio technica pro 10, 1 Audio J.A.S. Recording Mixers: Yamaha O1V digital mixer, 24- dances, & DJ shows. technica pro 25, 1 Shure beta 58. Amps P.O. Box 884 channels, with optical interface card ISI also provides live sound production, used include: Crest, Crown, Yamaha, Beaverton, OR 97075 and 2 built-in stereo effects processors; recording and mastering with post- SLM-RMA series & Yorkville AP series. (503) 274-2833 Mackie 1402-VLZ, 14-channel analog production and studio work. (depending on system configuration and Owner: Andy Strike mixer for sub-mixes. MIDI/Synths: Sound Engineers are available. power demands) Miscellaneous: 4 ISI di Roland JV-1080 synth module, with Rates: PA System rentals go out as a unit, boxes 1, Lawrence accoustic guitar KAOS Recording, Mastering & CDR Hip-Hop and Bass & Drums expansion engineer included—see website or, pickup, Fender m-80 pro guitar amp w/ Duplication cards; Alesis SR-16 drum machine; Casio contact [email protected] or 4-12" cabinet, Big muff II Distortion Portland, OR CTK-611 keyboard controller...more phone 503.649-7741 anytime for voice Pedal, MXR distortion pedal, Digitech (503) 287-5066 than 2000 sounds to choose from. mail. Or between 1:00 pm and 6.30 p.m. “talker” voice-synth pedal. Owner: John Belluzzi Monitors/Amplification: Roland DS50-A

Page 14 - TWO LOUIES, January 2002 powered digital reference monitors, JFE Drives: 75 gigabytes, Computer: monitors in stereo & mono with Pioneer Macintosh Power PC 9600/233 w/dual amp; Cerwin-Vega and Audio Centron 20" monitors, RAM.: 248 megabytes. mains; QSC 900 power amp; (2) Sony AD/DA: Cranesong: HEDD (Harmoni- MDRV-700 headphones; (2) AKG cally Enhanced DIgital Device) 24 bit K240M headphones; Rolls RA53 AD/DA converter. Digidesign: 888/24 24 headphone amp. Rack stuff: Joe Meek bit AD/DA converter. Waves: L2 VC1Q studio channel (mic pre, Ultramaximizer 24 bit AD/DA converter. compressor, EQ, enhancer); Joe Meek Analog Processing: GML 8200 VC3Q channel Parametric Equalizer. Cranesong: STC-8 strip (mic pre, compressor, EQ); Aphex Discreet Class A Compressor Limiter. 107 dual channel tube-essence mic Focusrite; Blue 330 Mastering Compres- pre, DBX 1066 dual compressor/limiter/ sor/Limiter. Mic Preamps: Cranesong: gate, Rolls RBD104 quad active direct Flamingo Dual Channel Discreet Class A box, Neutrik patch bays. Microphones: mic pre. Focusrite; Red One 4 channel Rode NTK tube condenser, Rode NT-1 mic pre. Summit; TPA-200A Dual Tube condenser, (2) AKG C100S condensers, mic pre. Night Pro; PreQ3 4 Channel AKG D112, (3) Audio Technica ATM-25 mic pre. Digital Processing: Cedar: De- dynamics, (3) Sure SM57, Sure SM58, clicker, De-crackler, De-hisser, De- Sure Beta57-A, (2) boundary mic's, (2) buzzer. Waves: L2 Ultramaximizer, Gold ancient mic's, one mono & one stereo, Bundle, Pro FX Processors, C4 for unusual sounds/effects, and a Multiband Compressor, DigiDesign; homemade mic for those fat, fat low end ReverbOne. Serato; Pitch-n-Time 2, Line sounds. 2-Track Recorders: Sony 6: AmpFarm Digital Routing: Z-Systems: PCM-R300 DAT; Sony TC-635 dual- 16x16 AES Digital Detangler Pro record cassette deck; 8x CD writer. Syncronization: Aardvark: AardSync II, Intruments/Amps/Extras: Fender Jaguar Sync DA Data Back-up: Exabyte: EXB- re-issue; Ibanez GSR200 bass; Squier 8700LT 8mm CD Recorder: Plextor 8/2/ JagMaster guitar; Tacoma DR12 20, Yamaha: CRW 2100S Monitors: rosewood acoustic guitar with Fishman Meyer Sound HD-1 High Definition humbucker; Fender HotRod Deville Audio Monitors Metering: Metric Halo 4x10 combo guitar amp; Marshall Labs: SpectraFoo - Waves: PAZ Valvestate 8040 amp; Ampeg SVT 4x10 Pscychoacoustic Analyzer 2 Track bass cabinet; BagEnd 1x15 bass cabinet; Players/Recorders: Tascam: DA-45HR-24 Line 6 guitar POD and bass POD; Bit DAT, DA-30 MKII DAT, CDR2000 - Hammond M-3 organ; Boss CD Recorder/Rewriter Marantz: PMD- footpedals: delay, distortion, fuzz 321 CD with AES and SPDIF outputs - distortion, flanger, digital dimension, Nakamichi MR-2 Cassette Vestax: BDT- and the old 3-knob phaser; MXR flanger; 2500 Turntable Microphones: Sovtek Big Muff; and a CryBaby Soundelux: 2 x U95S - Microtech Gefell: wah-wah. UMT 70S. Royer: 2 x R-21 - Neumann: 2 Clients: Blue Turns White (heavy emo x KM-184 - AKG: D12e - Sennheiser: 3 x rock), Kassino, Knameless & Knowledge 421, 441 - ADK: 2 x A51s - Shure: 2 x (rap), Matt Burlin (jazzy acoustic), SM-57, SM-7 Keyjon (R&B), Kate White (acoustic), A Few Of My Clients: Oregon Symphony Ronnie Cooper (synth pop/R&B), Clay , Obo Addy , Swingline Cubs , Alfredo Ashes (rock), FA-10 (thrash metal), Muro , Rorschach Test , Benny Wilson , Joaquin Lopez (synth pop), The Jack Norman Sylvester , Allan Charing , Lewis Project (acoustic), Aja Volkman Indigene , Mel , Perfect in Plastic , Randy (alt pop), Kym's Choice (punk death Porter , Headless Human Clones , metal), and Jill Urbina (acoustic pop). Slackjaw , Mother’s Choice , Trophy Wife , The Cow Trippers , Jerry Hahn , Hyper Lion’s Roehr Studio Static Union , Starter Kit , The Jimmies , 5613 S.E. 69th iknowkungfu , Feller , DFiVE9 , Portland, OR 97206 Gruesome Galore , Flying Heart Records (503) 771-8384 , The Mutants , Engorged , Shapeshifter , Email: [email protected] 44 Long , Headscope , Pacific Wonder- Owner: Mike Roehr land , Thy Infernal , Renato Caranto , The Bassoon Brothers & a lot more! Nettleingham Audio 888-261-5086 / 360-696-5999 No Moving Parts Vancouver, WA S.E. Portland (near Laurelhurst) (just minutes from downtown PDX) (503) 234-6410 Internet: http:// Web: www.nomovingparts.com www.nettleinghamaudio.com Owners: Mark/Michele Kaeder, Justin Email: [email protected] McCarthy Services: CD Mastering, Audio Engineer/Producers: Mark Kaeder, Justin Restoration, CD Replication & short McCarthy runs, graphic design, editing, etc. Tracks: 32 I/O Harddisk Recording Specialties: CD Mastering/Restoraton/ Equipment: Recording: Alesis X2 Short-Run CDs Recording console (24x8 ,64 sources at Engineer: Kevin Nettleingham mixdown full parametric eq on all Tracks: 64 Track Digital Hard Disk channels), Yamaha O1V Digital Mixer, Rates: $50.00 per hour / 100 CDs - $250 Sony A7 DAT Recorder, Creamw@re Equipment: Digital Audio Workstation: Tdat-16 hard drive recorder with Digidesign Pro Tools 24/Mix system Firewalkers DSP and Osirus audio Software Version: 5.1, Audio Hard Continued on page 16

TWO LOUIES, January 2002 - Page 15 On Site Audio A Diamond “Z” Records Company 16016 Lower Boones Ferry Road, Suite 5 Lake Oswego, Oregon 97035 (503) 675-1670 (503) 635-7335 Fax# Email: [email protected] Contact: Steve Landsberg Continued from page 15 Opal Studio restoration software (running on an 6219 S.E. Powell AMD Athlon 800P2 with 512 megs of Portland, OR. 97206 ram and 80 gigs of storage), Creamw@re 503-774-4310 Pulsar 96/24 DSP, Synthesis, Mixing 503-777-5214 fax platform with Logic Audio Platinum Email: [email protected] MIDI sequencing and HDR Web: www.opal-studio.com software.(too many other audio Owner: Kevin Hahn programs to list) , Outboard: Lexicon Engineer/Producers: Kevin Hahn, Vince MPX-1 multieffects processer, ART Pro Tognetti, Chris Stevens. MPA tube mic pre, ART Pro VLA optical Rates: $40/hour, block $35/hour, project tube compressor, DBX 1066 stereo $30/hour. compressor/limiter/gate, Line6 Guitar Equipment: Yamaha O2R digital mixing Pod Processor, Line6 Bass Pod Processor, console, Tascam TM-D1000 digital DBX Quantum Mastering Compressor. mixer, 32 tracks of Alesis HD24 & XT20, Monitors: Genelec 1029A biamp Panasonic SV3800 dat recorder,Tascam monitoring system w/sub , Event 20/20 DA-30, Alesis Masterlink, Tascam 302 bas active refrence monitors, Mackie dual cass. deck Marantz 615 CD HR824 reference monitors, Yamaha NS- recorder, Marantz PDM 320 CD player, 10 reference monitors. Synthesis: Roland Microboards StartREC 400multiple CD XP-80 MIDI workstation , Ensoniq ASR- recorder, Manley U5,Focusrite R8 dual X sampler ,Alesis D-4 MIDI drums. mic preamps, Drawmer 1960 dual tube Condenser mics: Soundeluxe U-95 mic preamps/compressors, TLA PA-5001 multipattern tube mic , Rode NT-2 , quad tube mic preamps, Joe meek VC3 Rode NT-1 (2), Audio Technica ,ATM35, (2) mic preamp/compressors, ART PRO AT-851a, AT-4041(2). Cardiod MPA dual tube mic preamps, Eventide Dynamics: EV PL-10, Shure Beta 52, E.V. H3000 effects, Lexicon LXP-15 effects, ND-868, ND-367 , Peavey PVM22 (2) , Yamaha SPX-90 effects, Yamaha O2R (2) Cad 22 (2). effects, Aphex Compellor, Symetrix 425 Misc: Sony Spressa 8x CD Writer. AKG compressors Yamaha GC2020B and SONY headphones, Samson compressors, Yamaha O2R dynamics Headphone amp (2) , SWR Bass amp processors Drawmer MX30 compressor/ with Eden 4x10 cabinet. limiter/gate, Vesta Koza digital delay, Notes: No Moving Parts is a comfortable, Aphex aural exciter... low cost recording environment with a Monitors: Sundholm SL8.0 monitors (2 friendly and knowledgeable staff. pairs), Genelec 1029A w/sub monitors Providing exceptional sound quality with Yamaha NS-10 monitors, Auratone the kind of speed and flexibility that only monitors Hafler P4000, P3000 power hard drive recording can provide. Perfect amps for inexpensive, great sounding demos or Microphones: Neumann U87 (2), Audio for budgeting the kind of time it takes to Technica 4033, 4050, 4051 AKG 414 B- complete a fully produced final product. ULS mic, AKG D112 (2) mics ADK tube, Check out our website at Audix D1, D2, D3 (2), OM5 Shure 57 www.nomovingparts.com for more info. (4), 58, EV ND757a Clients: Redline6, Hot Boxed, Fallen Others: Sonar XL, Steinberg Wave lab Short, Speedway Playboys, Peer Pressure 3.0, , M Audio 1010 24/96k, Roland Records, No Evil Star, Omnibox, Lucid, XV3080,Roland 303 groovebox, Alesis Vasikate, Iknowkungfu, Brenda French, D4, Ensoniq TS-12 keyboard, Fender Rick Anderson, ChanneLight, SweetJuice, Strat, 5-string bass, Tele custom, Gibson The Automatics , The Blue Ribbon Boys, Les Paul, mandolin, Marshall, Fender Heywood, Creepy Old Trucks, recording Deville, Line 6 POD, Mesa Boogie V-2, and editing for the independent film Crate... Breach Of Etiquette, Commercial Clients: Kerosene Dream, Jollymon, sountracking for Outdoor Animation Stephanie Schniederman, Deen and sound effects and background music Castronova, Mad Hattie, The Red Sector, for Colorado Time Systems sports reader Triple Double, Shrapnel Records, boards. Shortwave Records, Albert Reda, Ennis in Theory.... Northstar Recording 13716 S.E. Ramona Pacific Records Portland, OR 97236 The Place to Record Your Demo! (503) 760-7777 Fax: (503) 760-4342 503-775-2530 Web: http://www.northstarsamples.com Portland, OR Owners: Scott James Hybl, Curt (just minutes from anywhere in Cassingham Portland) E-mail: [email protected] Web: www.pacificrecords.net Rates: $15 per hour (no minimum time,

Page 16 - TWO LOUIES, January 2002 buy 10 hours, get 2 free!) / 100 CDs Rex Recording duplicated - $200 1931 S.E. Morrison Services: Audio Recording, CD Portland, OR 97214 duplication and short runs, graphic (503) 238-4525 design, online sales, marketing, and Web: www.rexpost.com distribution, web site design Owner: Sunny Day Productions, Inc. Specialties: Cheap audio demo recording- we aren’t satisfied if you River Recording aren’t! Great sounding drums, free Milwaukie, OR producer, good location, sofas, (503) 659-5760 magazines. Owner: Steve Parker Engineer: David Pollock (the one to talk to) Sound Goods Tracks: 12 Track Digital Hard Disk Beaverton/Aloha, Oregon Equipment: Akai DPS12 12-track digital (503) 690-6864 hard disk recorder, CAD vocal condenser Web: http://www.soundgoods.com mics, Alesis effects processors, Premier Owner/Engineer/Producer: Joshua Astria XPK drum kit, REMO Legero Slamp drum set, E-MU Proteus 2000 sound module, Avlex, CAD, Peavey instrument Sound Impressions, Inc. mics, CAD drum mics, Epiphone/Gibson 1920 N. Vancouver Les Paul electric guitars, Hamer electric Portland, OR 97227 guitars, Fender electric guitars, Fender (503) 287-3975 Fax: 249-5021 acoustic guitars, Fender basses, Peavey E-mail: [email protected] RQ-200 mixer, ZOOM guitar effects/ Web: www.sound-impressions.com processors, Danelectro, DOD, Marshall, Other Services: Web Site Design, Video Dunlop guitar effects, Nady wireless Production & Duplication, and CD Rom instrument systems, AIWA monitors, Authoring. AIWA power amps, Cakewalk Pro Studio Owner: Dan Decker software Engineers and Personnel: Dan Decker: Monitors: Alesis M1 Active Powered Engineer / Producer, Nick Kellogg / Monitors Engineer / Producer, Rick Duncan: Computers: Apple iMac, G3 400 MHZ Engineer, Wayne Thompson: Program- processor 192 megabytes RAM; Apple mer / Engineer, Delandra Clark Power Macintosh G4, 400 MHZ G4 Scheduling / Artist Management, processor, 256 megabytes RAM. independent engineers are Analog-Digital/Digital-Analog welcome.Assistant Engineers: Jim Converters: Griffin iMic USB audio Lechocki, Justin Swanson, Tony Crepps converter Direction: Sound Impressions has been CD Recorder: Yamaha 2100 16x record serving the Northwest with quality audio 10x re-write 40x read services since 1983. Audio projects range Mastering Decks: DAT recorder, Apple from local demos to national albums in iMac, AIWA tape deck. all styles of music. Our new facility located two blocks from the Rose Garden Pro-Arts Productions arena houses two large audio studios and 1350 Chambers Street a video editing suite. Call to set up an Eugene, OR 97402 appointment. We would be happy to (541) 345-9918 show you our studios and discuss how Owner: Tony Proveaux Sound Impressions can assist moving your musical career forward to the next Pushy Jew Productions level. N.E. Portland Mixing Consoles: Studio A: DDA AMR- (503) 288-9279 24, 60 inputs with Uptown moving fader Email: [email protected] automation, 24 buss split console design. Owner/ Engineer: Ken Goldstein 36 channel master section and 24 channel monitor section with EQ. R Studio Switchable plasma metering. Studio B: (503) 285-9168 Yamaha 02R digital mixing console: 40 Owner: Gregg Whitehead inputs with dynamics and parametric EQ. Studio C: Yamaha 01V Digital Rainbow Recording Mixing ConsoleMulti-Track Recorders: 6614 S.W. Garden Home Rd. Otari MX-80 2 inch 24-track with CB- Portland, OR 97223 120 locator for programmable punch-in (503) 246-5576 and punch-out. ADAT 24 tracks, BRC Email: [email protected] auto locator. Owner: Galen Hegna Mastering Decks: Otari MTR-12 II, Tascam 52, Panasonic SV-3700 DAT’s. Recording Associates Panasonic SV-3500 DAT, Yamaha CD-R 5821 S.E. Powell Blvd. writer Portland, OR 97206 Noise Reduction: Dolby 363 SR/ A 2- (503) 777-4621 Channels, Dolby XP 24-Channels SR, Email: [email protected] Digidesign D.I.W.R. Digital Audio Digital Workstations: 3 Digital Performer workstations with 2408, 2408II, 1224, MIDI Time Piece, and MIDI Time Piece AV interfaces, Apogee AD Rossetta Continued on page 18 TWO LOUIES, January 2002 - Page 17 MOJO, Jackstraw, Fred Stickly, Hardship, Jamie Hampton, Stark Raving Mad, Super Friends, Dave Said Strike, Petal, In June, Jeff Cava, Shapeshifter, Adam Zwig, Jim Sluder, Lisa Polick, Jon Koonce and the Gas Hogs, Poison Idea, Eric Mathews, Cardinal, American Girls, Swoon 23, Craig Carothers, Heatmiser, Dan Reed, Monde La Bella, Southern Nights, Continued from page 17 Caveman Shoe Store, Pig Pen, Hearing Converter, Pro-Tools III 16 Track Power Voices, Snowbud, Dan Balmer, Brothers Mix (on the AVID workstation). of the Balidi, Nu shooz, John Nilsen, Synchronizers: 4 Adams-Smith Zeta Michael Harrison, Tall Jazz, Dub Squad, Three’s. Gary Ogan, Dub Debrie, Steve Outboard Signal Processors: Lexicon: Christopherson, Here Comes Everybody, 480L, 2-Lexicon PCM-70’s, 2- Lexicon Patrick Doro, Double Trouble, Cross LXP-1’s, Lexicon PCM-41, 2-Yamaha Country, Power Of 10, Marv Ross Rindy REV-7’s, Yamaha SPX-90, Alesis Ross, Land of the Blind, Chode, Mel, Multiverb, Ibanez SDR-1000, Eventide Nancy Bright, Leroy Vinegar, Soular, H-3000 Ultra Harmonizer, ADA OC192, Gypsy Caravan, Melt, JIVA, Pitchtrack, Roland SDE-3000, Deltalab Victor Wooten, Portland Trail Blazers, 64 Delay, Deltalab 1064 Delay, Audio Portland Winter Halks, Portland Design Delay. Orban 672A 8 band full Songwriters Association, Tektronix, parametric EQ, Orban 622B four band NEC, Fujitsu, LPKF USA, LPKF stereo full parametric, NIH PE-30 four Germany and many more. band full parametric, UREI A522 1/3 octave graphic. Focusright Mic Pre’s, TL SuperDigital Ltd. Audio Stereo Mic Preamplifier, Aphex 915 N.W. 19th Portland OR 97209 Type II Aural Exciter, Aphex Type B 228-2222 Aural Exciter, 2-dbx 263X de-esser’s, Email: [email protected] B.A.S.E. Spatial Processor, Crane Song Web: www.superdigital.com STC-8 Stereo Compressor, Focusright Owner: Rick McMillen Compounder Stereo Compressor, dbx 122 Stereo Compressor, Aphex Stereo Tonic Media Compeller, 2-JBL 7110’s, 2-Symetrix CL- PO Box 14062 501’s, 2-Symetrix CL-100 , Symetrix CL- Portland Oregon, 97214 150, 2-Symetrix 544 Quad Gates, Aphex (503) 236-2123 612 Stereo Gates. Email: [email protected] Instruments: Yamaha C-3 6 foot grand Owner: Alan Alexander III piano, Yamaha DX7, Yamaha DX7 II, Ensoniq ASR10, Fender P-Bass, Fender Walnut Studios Jazz Bass, Fender Telecaster, Kramer (503) 312-9663 DMZ-5000 Fretless Bass, Gibson J-40 Balanced Power, Equi=Tech ET1RSI-F. acoustic, Rickenbacher 5001 Stereo Bass, Console, Mackie D8B, OS 3.0. Recorder, Ampeg B-15 Bass amp, Fender Sidekick Otari RADAR II Hard Disk Recorder, OS amp. Oberheim Matrix 6R, Korg DW- 2.20. Mics/DI, AKG C 414 B-TLII (2), 8000, Sequential Drumtrax, 2-Alesis D-4 Groove Tube 1A (2), Sennheiser MD-421 Drum Modules, Korg M3R, EMU (2) , Shure SM-57 (4) , Shure SM-58 (2) , Proteus, Oberheim Matrix 1000, Kawi AKG D112 , Shure Beta 52 , Neumann K1, Korg Polly 800, Roland 2080, Akai M147 , Neumann KMS105 , SansAmp S2000 Sampler, Roland JV1010, Fender Bass Driver DI , AKG D12-E , Neumann Rhodes Piano, Whurlitzer Piano, large KMS148 (2) Preamplification, True sampling library of loops and sounds. Systems Precision 8 , Focusrite ISA-110, Microphones: AKG The Tube, AKG Limited Edition , Focusrite Platinum 414’s, Neuman U-87, Neuman KM- Voicemaster (2) , Mackie VLZ’s 140’s,EV-RE20, AKG 330’s, 320’s, 451’s, Processing, Mackie EFX – Reverb, 460’s, D-12’s, D112. Audio Technica Compression, Gating , Apogee UV22 , ATM-63’s, Tascam PE-250’s, Sony Lexicon PCM 91 Reverb , Waves L2 Condensers, American and Shure Ultramaximizer , DBX 160A Analog Ribbons, Shure SM-57’s, Sennheiser Compressor (2) , EMU E4XT Ultra 421’s, & more!Monitors and Amplifica- Sampler Monitors, Mackie HR824’s tion: UREI 813’s, KRK 7000’s, Yamaha Headphones, Sony MDR-7506’s Media NS10’s with matching sub wolf, Format Options, CD-R, DAT, .mp3, Auratone 5-C, Ramsa, Crown, .wma, Cassette Transfer Formats, TDIF, Yamaha,and QSC Amplification. ADAT Optical, Analog XLR and _” TRS Clients and Projects: Subpop Records, Stereo Transfer Formats, AES/EBU, S/ Atlantic Records, Frontier Records, Sony PDIF, XLR, _”, Coaxial. Records, Mercury Records, Roadrunner Records, TK Records, Carlson Records, Walter Midi Recording MDR Records, Rainbow Records, 1420 SE 162nd Schizophonic Records, Elemental Portland OR 97233 Records, The Dandy Warhols, The (503) 761-0964 Freemartins, Scott Fisher, Smoochknob, Email: [email protected] Al Perez Band, Ashbury Park, Blake Owner/Engineer: Jon Lemon Sakamoto, Honey Ryder, David Lee, Disciples In Song, Jan Celt, Lonnie Turner, Washing Waldo Woo, Signals, LLLL

Page 18 - TWO LOUIES, January 2002 Continued from page 7 “CROSS-COLLATERALIZATION” Incidentally, and this is extremely important, any band should be absolutely sure, before signing a recording contract, that the contract allows the record company to recoup advances from only the band’s artist royalties, and not also from the band’s publishing royalties from record sales (i.e., the “mechanicals”). In recording contract parlance, the record company should be contractually barred

LAST LAST MONTH THIS THIS MONTH from “cross collateralizing” against mechanicals. 41 BLUE SKYS FOR BLACK HEARTS / Demo CD ...... This Black Hearts Gonna Break MINIMUMS AND MAXIMUMS 62 VARIOUS / A Bouncing Space CD ...... Lunch with a Bouncing Space Recording contracts usually specify that a cer- 53 GARMONBOZIA / Demo CD ...... Tremolopsi! tain dollar-amount of advance will be paid sepa- •4 RICHMOND FONTAINE / Advance CD ...... Winnemuca rately for each album under the contract, and will 15 FERNANDO / In Music We Trust CD ...... Dreams of the Sun and Sky state the minimum and maximum amounts for 75 JEFF TROTT / Demo CD ...... Dig Up the Astoturf each such album advance. 12 6 QUARMIRE EXPEDITION / Demo CD ...... Demo The structure for these minimums and maxi- 86 THE TORTURE COOKIES / Recalcitrant CD ...... Progressive Disciplin mums is usually as follows: The contract will •7 WIPERS / Zeno CD ...... 3 CD Box Set specify a certain set amount for the first album’s 68 SPIGOT / Cameltoad CD ...... Bait and Switch advance. For albums after the first album, the con- 11 8 CAMERO HAIR / Outro CD ...... Mirage Sale tract will specify (for each album) a minimum dol- 98 GARMONBOZIA / Diaphonic CD ...... Omnibus and the Bakers Man lar-amount advance (called “the floor”), but will 10 9 CRACK CITY ROCKERS / Paisley Pop CD...... Joyce Hotel 11 9 HERE COMES EVERYBODY / Refrigerator CD ...... Astronauts also provide in effect that if the album sells well, 10 10 JOHN HUSS MODERATE COMBO / Zippah CD ...... Lipcmite the advance for the next album will be computed 12 10 THE WEAKLINGS / Demo CD ...... Sick Rock and Roll Fascination at 60% to 70% (typically, two-thirds) of the royal- 13 11 PONTICELLO / Ponticello Music CD ...... Down Like Mercury ties earned to date by the band from the prior al- •12 DIZZY ELMER / Demo CD ...... 5 song demo bum (or sometimes, the average royalties earned •13 JONAY / Demo CD ...... 2 song demo from the prior two albums), but only up to a cer- tain specified maximum amount (called the “ceil- ing”). 31 BLUE SKYS FOR BLACK HEARTS / Demo CD ...... Everythings Gonna Be Allright Typically, these minimum and maximums 52 99 CENT DREAM / A Bouncing Space CD ...... Nominal Friends will increase from album to album. For example, •3 GARMONBOZIA / Demo CD ...... Theme Variatour #7 the minimum amount for the second album might •4 RICHMOND FONTAINE / Advance CD ...... Somewhere Near be $200,000 with the maximum at $300,000, •5 JEFF TROTT / Demo CD ...... Walk A Cloud whereas for the third album the minimum might be $250,000, and the maximum at $350,000. CONCLUSION 1 RICK BAIN & THE GENIOUS POSITION / Official CD ...... Crooked Autumn Sun Given all of these various factors, it’s easy to 2 FERNANDO / In Music We Trust CD ...... Dreams of the Sun and Sky see why seemingly successful bands sometimes re- 3 KING BLACK ACID / Cavity Search CD ...... Loves A Long Song ceive much more modest levels of income than one 4VARIOUS / Last Chance CD ...... In the Cole Mind would otherwise expect. These various factors also 5 WOW AND FLUTTER / Jealous Butcher CD ...... Better Today Than illustrate why it is so important for a band to struc- 6 BLUE SKYS FOR BLACK HEARTS / Demo CD ...... This Black Hearts Gonna Break ture its record deal in the most favorable way pos- 7 PINEHURST KIDS / Barbaric CD ...... Bleed It Dry sible. 8 THE HIGH VIOLETS / Demo CD ...... 4 song demo Editor’s Note: Bart Day is a Portland-based 9 SAUVIE ISLAND MOON ROCKET FACTORY / Red 76 CD ...... Wy East Can’t Sleep entertainment attorney in private practice. He is also 10 GARMONBOZIA / Demo CD ...... 1940 a partner in ALLMEDIA, Ltd., a company with of- 11 VARIOUS / Kwali-T CD ...... X-Ray Visions fices in Portland and Los Angeles. ALLMEDIA spe- 12 DAHLIA / Demo CD ...... Dahlia cializes in administering the licensing of music for 13 SO SADLY F...ED / Circle 5 CD ...... So Sadly F...ed film, television, commercials, and websites, and rep- resents various record labels, independent music pub- lishers, and Internet companies. 1 GARMONBOZIA Bart is also the co-author of a chapter in The 2 SAUVIE ISLAND MOON ROCKET FACTORY Musician’s Business and Legal Guide, a book com- 3 SO SADLY F...ED piled by the Beverly Hills Bar Association and pub- 4 BLUE SKYS FOR BLACK HEARTS lished by Prentice-Hall Publishing (New York). 5 DAHLIA The reader is cautioned to seek the advice of the reader’s own attorney concerning the applicabil- ity of the general principles discussed in this column to the reader’s own activities. LL

TWO LOUIES, January 2002 - Page 19 be extremely effective, but it is imperative that the gramming. Drummer Allen Brown holds it all to- samples and loops are original, or at the very least gether, laying down solid, rhythmic underpinnings, unique in the acquisition of their source material often in conjunction with pre-programmed (even if its bought or stolen), or modified in an rhythm tracks. singular or original way. “Sundown” kicks off the set, driven by stut- Continued from page 8 There’s nothing wrong with what the Dead tering arpeggiated keyboards and electronic sound- the sounds right out of the box, without tweaking Poets Society do. They appear to have their cadre ing drums, as No enters the sonic picture wailing them or editing them or somehow making them of fans and followers, but those people somehow girlishly, like Belinda Carlisle doing Bjork. An in- “yours,” or otherwise fairly unrecognizable, your seem simply misguided or uninformed. As teresting combination. Middle Eastern themes run material is going to sound just like all that other Abraham Lincoln once said, “You can fool some through the shadowy “Bird In A War.” Ellis’ war- stuff submitted to the Sonic Foundry website, of the people some of the time...” bling keyboard, is motivated by Brown’s powerfully where, no doubt, the Dead Poets Society have, from alpha_jerk— Headscope insistent drums and the subtle sound hand per- time to time, reigned supreme. Self-Produced cussion (although it may be electronically gener- These very same loops can be heard in count- ow this is more like it! Here is a band ated), while Krys’ shouts echo in the abyss. less television and radio advertisements— always that uses aspects of Electronica to its Alannis Morissette is No’s obvious vocal in- altered to the point of near imperceptibility, which Nbest advantage, creating atmospheric spiration on the live rendition of “Casseopia.” would seem to be the point, after all. To just throw moods that absolutely crackle with intense origi- Brown’s electronic kit generates the percussion on a few of these loops together over a frenetic (and, nality. The difference here is that there are true “Lung Candy,” a great live electronic piece. “509” generally) sampled beat and bassline is practically musicians in this band, in the respect that they re- moves in a completely different direction, with void of any real imagination, but merely an exer- ally know how to play instruments, as well as to brash snarling guitars galloping ahead as Krys cise in computer programming, while cutting and how operate equipment that generates sounds, screams out in the din. But hidden veers more to- pasting together chunks of musical information. One could hire other people to do the fill in work for him. “Uh, throw that Asian thing there. The tabla and sitar there. Segue to a frenetic beat and bassline and... cut it. Maybe toss in a piece of Grieg’s ‘In The Hall of the Mountain King,’ to display our Classical training. I’m off to the gym.” which they also do quite well. ward straight electronica, with a variety of key- In order for the Dead Poets Society to Not the least of these musicians is vocalist board tones generating the ambience. No handles progress, they need to truly learn how to play in- Krys No, whose notable feat is to manage to keep the vocal chores admirably, inflecting the melody struments, whereby they might learn valuable les- up with the dense sound sculptures created by with mysterious, vaguely Eastern intonations and sons in harmony and dynamics, which will enrich Kevin Ellis on keys and guitar, and Niall Davids, slippery falsetto, before facing Mecca, shrieking as immensely their palette of musical colors and tex- who contributes bass along other effects. Ellis the scene melts around her. tures. Secondarily, the employment of loops can handles the sampling while Davids does the pro- Continued next page

Page 20 - TWO LOUIES, January 2002 Continued from page 20 ciated with the event. “It’s going to be a mad-house, but we’re With simple, more mainstream piano accom- ready for it,” was Smokey’s reply to my ques- paniment and muted synth strings, “Good Day” is tion about the safety of the store’s inven- a winning number, something of a departure from tory among a herd of un-limp Bizkits, fans typical Headscope fare. “My Friend Stephanie” is not normally known for sedate behavior or a fondness for rules. “We’ve got support flying in one of the highlights of the dozen songs presented Continued from page 5 on this album. Brown’s hard-hitting drumwork from stores all over the country. People that know provides the foundation, as No delineates a tale, recording facility,” declared the guitarist-gone- how these gigs go,” said Smokey. quoting Bill Withers along the way. More straight soundsmith. He means it too. Peter has turned large GC Clackamas doesn’t rely upon hoopla like ahead. More accessible. Krys scats mercilessly, parts of his newly purchased Northeast Portland the Bizkit event exclusively. The store’s staff is screaming at the top of her lungs, reminiscent of home into a full-blown studio, so now he can ac- chalk-o-block full of professional musicians and Portland punk legend Monica Nelson. With slow commodate clients there or in most remote locales. tech-savants. GC staffer Neil Charles runs the deliberation, great clouds of vibrato guitar darkly Walnut is a 24 Track 24 Bit digital studio. Among store’s pro audio department and just outfitted the gather, to bring the song to a gradual halt. the gear Peter uses is a Mackie D8B digital console Muscle Shoals Sound Studios recording studio with An indistinct Celtic feel spins the jig “Knee with OS 3.0, an OTARI RADAR II hard disk re- a ten-yard truck full of pro audio gear. Muscle Deep.” Krys weaves a lovely falsetto, ala Sinead corder with OS 2.2, Mackie HR824 monitors and Shoals was founded by members of the legendary O’Connor, as Ellis’ synth drips and drops in long tons of high-quality mics. Walnut Studios (503) Muscle Shoals Rhythm Section, who were recently legato phrases over jangling electric rhythm gui- 312-9663. inducted into the Alabama Music Hall Of Fame. tar. Also very nice. The familiar descending chro- matic, minor-key electric piano figure of “Real Life Movies,” nearly identical to that found on Harry Nilsson’s version of “One,” serves as another fine source of inspiration for No’s spirited ululations, at times sounding a bit like Jewel, of all people, and at other times like Nilsson himself. A Bizkit For Guitar Center Charles, a multi-instrumentalist producer, is pals Returning to the big beat, “The Road” com- One month after GC Beaverton walked off in and the mixer of choice for Rhythm Section gui- pels Krys to resume her more abrasive attack mode, a huff and cancelled their ad support (Two Poopies, tarist Jimmy Johnson. Guitar Center Clackamas here recalling Debbie Iyals of Romeo Void, as December 2001) due to an allergic reaction to a (503) 654-0100. Davids hammers out Tony Levin-style low end over reference by one of our scribes in the November Brown’s inspired jungle drumming. Heavy. Con- issue, Guitar Center Clackamas returns as a Two Two Louies Now A Cheap Date versely, “Down On You” travels upon a strange Louies Magazine supporter. www.TwoLouiesMagazine.com techno disco beat and Ellis’ jagged organ-tone ac- Whew. And, welcome back. Beginning with the February 2002 issue of cents and funky rhythm guitar. TL lens Buko and myself checked out the Two Louies Magazine, bands interested in placing Headscope prove that there are still new places Clackamas store recently. Standard GC fare; wall- ads in our publication will be able to do so for a to take the Techno ride. Krys No demonstrates very to-wall gear and lots of staff that know their stuff. paltry $25.00. Call it our working-stiff special. real talent that is well short of reaching its peak. If Buko instantly ditched me for a mountain of basses This is a great way to expose venue decision she can overcome her periodic propensity for vo- he spied as we entered the store. Buko’s wife makers to your band, advertise booking availabil- cal harshness and occasional departures in pitch Jeannine Dawson is the bass player for Cherry ity, promote gig dates, thank your label, thank your (generally on the more technically challenging of Bomb, so he’s always on the prowl for unique gear mom, sell old gear, malign a nemesis, whatever. And the arrangements), she could become a great singer. she may like. it’s far easier than mailing your bio to all 50+ of The rest of the band concocts consistently As I made my way through the warehouse- the joints listed in our venue guide (hint, hint). delicious settings for No’s adventurous perambu- sized store full of equipment, I found store man- Send your 50 words or less ad, with the $25.00 lations, varying their approach from song to song ager Smokey Wymer next to a steroidal display of payment, to: Two Louies Magazine, 1017 SW with concordant aplomb and resplendent seren- Line 6 gear, schmoozing with some 94.7 KNRK Morrison, Suite 501, Portland OR 97205. Two dipity. Their sound is original and extremely tight, air personalities and promotional staff. Limp Bizkit Louies Magazine (503) 223-2157. exploring a variety of styles with expert acuity. We is auditioning for a guitar player at the Clackamas can all look forward to hearing more from this very store this Sunday January 13th, and they were dis- thoughtful new band. LL cussing what must be a gigantic list of details asso- LL Photography & Graphic Design

503/282-1682 www.buko.net

TWO LOUIES, January 2002 - Page 21 Continued from page 13 signing The Dandy Warhols to Capitol (along mainstay Jeff Lorber had a BB Jazz Chart hit, STORIES BREAKING IN 2002 with Everclear and Meredith Brooks), left Burnside Records discovery Kelly Joe Phelps Capitol in late 2001. joins Robert Cray’s label Rykodisc and NEW UNION PREXY FROM THE STREET releases “Sky Like A Clock” which climbs to Veteran AFM Local #99 President SHERYL CROW #12 on Billboard’s Top Blues Album’s. Pete (Cellist) Denise Westby steps down after 9 HAS A STAKE IN OREGON Droge is tapped to produce Pearl Jam years of distinguished service to musicians on Or so it would seem given the press she guitarist Stone Gossard’s first solo album for a local and national level. In her tenure Ms. generates for local songwriter Jeff Trott, who Epic Records Westby negotiated a new contract for the has collaborated with Ms. Crow on several Symphony, kept the pressure on NxNW for hits and was selected BMI Writer Of The Year ALLEGRO BUYS NAIL LOCALS CELEBRATE showcase scale, sat on the OMHOF steering in 1998. Trott’s first solo album “Dig Up The The Northwest Alliance of Independent committee and introduced several pieces of Astroturf” is due out February 19th. See how Labels, distributors of Pink Martini for new legislation at the national AFM many times her name is mentioned in the instance is bought out by (Thirty million convention. New president (Guitars-Keys) promotion. Sheryl also turned to young (24) dollar a year classical and world-beat Bruce Fife is a familiar veteran of the west Portland drummer Jeff Anthony for drum distribution corporation); Allegro who go coast club scene and vows to continue loops on her new single “Soak Up The Sun” national with NAIL’s contemporary, mostly Westby’s popular platform of education and scheduled as the first track to be released from alternative, local product. Founder Mike career development. her latest album this month. Jones takes the buyout money and starts another business. NAIL Media darling Alicia NAIL GOES NATIONAL CRAY LEAVES MAJORS HAS BIGGEST HIT J. Rose joins the Allegro staff. Local labels and LEAVES PDX BEHIND In 2001 Robert Cray escaped from artists are optimistic about Allegro’s national Some artists with NAIL product are Mercury’s corporate clutches for a sweet deal distribution network of retail stores. already protesting the new Allegro/NAIL with indie Ryko Records that produced one corporate payment policies. Tony Hughes, of Robert’s strongest chartbusters to date. YEAR OF THE PDX FEM ROCKERS who has distributed Jesus Presley through Shoulda Been Home debuted on Billboard’s Ladies Pu-leeze! First is was Daisy Chain, NAIL for some time says “Since the merger, I Top Blues Albums at #2 with a bullet July 2nd, a two-day hugely successful and well attended gave them 500 units. They say they lost 90, and still occupies a position in the top ten. In local original music fair at the Mt Tabor sold 150 and sent me a bill for $500. What’s his spare time Robert did the music for the Theater headlining “Fifty Woman-Fronted up with that?” Insiders say head NAIL exec feature film “Through Riley’s Eyes” based on Acts” produced by Lisa Lepine and Lisa Ford, Alicia J. Rose “ doesn’t have the time anymore the life of Portland musician Richard Burdell, (Lisa Faire?) then later in the year it was the for these piddly local acts, who put bread on produced and directed by his wife Sue Rock-n-Roll Camp For Girls produced by her table before she came to Allegro. She’s Turner-Cray. Misty McElroy through the PSU Women’s gotten TOO BIG for this local crap. She Studies department, wherein McElroy doesn’t owe Portland anything”. Ms. Rose PORTLAND PLAYERS managed to get Meredith Brooks bitch- came to Portland from the Bay Area in the GENERATE HEADLINES slapped by the Oregonian for being a no- mid-90’s as Miss Murgatroid the avant-garde Everybody had something good going in show, this without ever talking to Meredith accordionist. 2001. Early local Jazz hero and Ray’s Helm directly about attending. LL “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 22 - TWO LOUIES, January 2002 profound impact he had on the Portland music scene. LETTERS The article did not indicate if this is actually a Continued from page 3 museum, a title or an award. Any insight and/or clari- fication would be greatly appreciated. I have some old memorabilia (probably all duplicates) that if it would Not Incredible be of benefit, would be honored to contribute if this Dear Editors, in fact is a museum or collection for the public. It’s gratifing to see my ugly phiz featured among Also, if you know of anyone who has burned any the many fine musicians who performed at the of Billy’s music on CD(s), please turn-me-on to them. OMHOF tribute to Billy Rancher,(p.17 #5) but the last I have the old albums and tapes but they have been time I looked, the name on my ODL was spelled Evan played for years. Unfortunately, the sound quality Shlaes, not John Davis. makes that very apparent! While I’m at it let me plug my own band, the Again, thank you for your time on my behalf. I New Iberians. We’ve been described as “Booker T meets hope to hear from you soon! Clifton Chenier” and can be seen at the ususal local dives, including O’Connor’s in Multnomah Village Warmest Regards, every Wednesday. Celeste Pugh Also I’d like to take a second to give it up for David TraveLand Vacations, Inc. Diaz, one of the original Malchicks, whose solid work P.O. Box 10162 on the keyboards was as much as anything else re- Fairbanks, Alaska 99710 sponsible for the musical success of the evening. Ph: (907) 488-9898 Thanks! Evan Shlaes LL

Real Biz Mag Dear Editor, This months article in “As the World Turntables” brought my attention to a Radio station KNFX prop- ertied to be in Sacramento. The only KNFX, I can find on the web is a news radio station in Minnesota. I’ve On The Cover: Jerud Moyer of The Dirty even checked Sacramento phone book and called a Lowdowns. Together 3 years, the four-piece popular station there. Is there a typo in the call letters? consists of Mike Teal also on guitar, Jeff Spane I am seeking the Sacramento station you are referring on bass and Doug Naish on drums. In ’99 the to. band released “U.S.of A.” (Available at most (Editors note: The correct call letters are KRXQ) music stores) and the new CD “Edge of Disas- Also...Thank you for the print in the December ter” is due out in February. (Photo: Pat Snyder) issue in “Shinny White Shoulder”. That is the most print my band has ever received in a ‘real’ music biz maga- zine. I was surprised to see a picture of me instead of the band ; however, my name is Michael JOSEPH...not Michael Johnson... Will you post this correction to the web page or will the article forever stand as is ? 4811 SE Hawthorn 503-238-1646 Both Eric and I graduated from the Mount Hood Friday 11th Community College Music Program in the 80’s. I am • Established 1979 • Blue Morocco Arabesqe known by name to practically every musician in town. TWO LOUIES PUBLISHING I taught at Lake Music for five years and was lead per- Associate Publisher: Ford T. Pearson Saturday 12th cussionist at “Living Enrichment Center” for five years Deb McWilliams:TwoLouiesMagazine.com Art Director Porterhouse as well. The Center has a rotating congregation of about Editor: Buck Munger Tryclops 3000 from the greater Portland area. We (the band) Graphics & Photo Editor: Buko also have a video from the Troutdale Blues and Brew’s Writers: Friday 18th Fest that was produced by Multnoma Cable Access at Marc Baker • S.P. Clarke • Bart Day • Dennis Jones Public Groovement MHCC and is aired periodically on local cable access. • Denny Mellor Boom Cricket Thank you for your time...Be Well Robin Rosemond • Stephanie Salvey Ayahuasca Brothers Michael Joseph / ERIC SAVAGE BAND Photographers: David Ackerman • Buko • Gustavo Rapoport • Pat Snyder Printed by: Oregon Lithoprint Saturday 19th Goddess Goes Two Louies Magazine Logos Eye Dear Editor, 2745 NE 34th • Portland, OR 97212 Vickers Thanks in advance for your time. This is not a PHONE (503) 284-5931 • FAX (503) 335-3633 hurry, but I would really appreciate a short reply when Email addresses: Friday 25th you do find a free moment. Editorial: [email protected] • Marketing: Dry County Crooks I was one of the Goddess’s a Go-Go with Billy [email protected] Dan Kimbro Medical and the Unreal Gods years ago. Recently, my Dad in Layout: [email protected] Center © 2001 by Two Louies Magazine. May not be Cavaleirs Portland saved a page in the Oregonian for me indi- reproduced in any form without the expressed cating Billy is the first inductee into the newly estab- written consent of the publisher. Two Louies Saturday 26th lished Oregon R&R Hall of Fame. I am so proud to is available by subscription. Send $35.00 for DJ S-Dub hear so many people are touched by his music and the one year, postpaid. DJ -3

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