photo Buko

Tres Shannon (leaping) and new band Th e Kurtz Project plays a Two Louies mansion studio party. Just months later Tres and Kurtz Project band mate Benjamin Arthur Ellis would open the all-ages original music venue, the X-Ray Cafe, frequent home to infl uential local original music bands like Sprinkler, Crackerbash, Hitting Birth, Poison Idea, Dead Moon, Smegma and the Hell Cows as well as touring alterna-phenoms like Green Day, Unwound and Hole. Today Tres Shannon and his partner Ken Pogson operate Voodoo Doughnut (and wedding chapel) at 22 Southwest 3rd Avenue.

photo David Wilds toto developdevelop a ddefiefi nitivenitive soundsound oror thethe proprietaryproprietary outout andand hhaveave a lilisten,sten, BBuck.uck. I tthinkhink yyou’llou’ll eenjoynjoy iit.t. feelingfeeling ooff bbelongingelonging ttoo a ggroup.roup. David Rolin/percussion A few weeks ago, Edwin Fountaine, Gary 503-289-2346 Fountaine,Fountaine, RRickick GGalarneaualarneau aandnd mmyselfyself ((DavidDavid P.S. Please feel free to contact me if you have Rolin)Rolin) ddecidedecided ccollectivelyollectively ttoo rresignesign ffromrom Th e e questionsquestions oorr ccommentsomments WiseWise GGuys.uys. WWhile,hile, aass inindividuals,dividuals, wwee aallll hhadad oourur reasonsreasons forfor doingdoing so,so, threethree issuesissues werewere paramount:paramount: WISEWISE GUY AAGAINGAIN OTHER GUY RESPONDS (1) un-run-resolvedesolved fi sscalcal ppractices,ractices, (2) tthehe ffailureailure ttoo Th e Wise Guys story comes to this: Dear Two Louies Magazine meetmeet ourour professionalprofessional goalsgoals overover thethe pastpast yearyear andand I run the band like a business (which it is, I read, with great interest, the Grand Ol’ (3) ttoo bbringring ssomeome sstabilitytability ttoo oourur rrhythmhythm ssection.ection. y’know),y’know), aand,nd, wwhenhen a giggig isis booked,booked, I askask eacheach Soap Opry in the December issue of two Two WeWe broughtbrought in BobBob MetkeMetke onon drumsdrums andand JeffJeff OttoOtto player,player, ““WeWe hhaveave a ggigig aatt (w(wherever)herever) oonn ((whateverwhatever Louie’s. Th e revisionist version of Th e Wise Guys onon keyboardskeyboards toto formform a newnew bandband calledcalled THOSETHOSE dates),dates), andand it’llit’ll paypay youyou (whatever(whatever itit is)is) thisthis muchmuch drama prompted my letter. Characteristic of most GUYS.GUYS. - WouldWould yyouou lilikeke ttoo ddoo iit?”t?” rumors, there are elements of truth to the story “What has happened in reality, is that members of ‘The Other Guys’ in your column but several inaccuracies beg to be corrected. are actually representing themselves as ‘The Wise Guys’, a name they My experience with Th e Wise Guys began have no right to- They have booked a private party in my name (The over a year ago when Eric Donaldson invited me Wise Guys) and the client was VERY upset when they heard my new to join a collection of musicians he called Th e version at the Spot Bar & Grill recently, and made it quite clear that Wise Guys. He expressed that his standard line- up needed the vitality I could provide with my they thought they were getting US, not them.” percussion experience. Th is selection of musicians oft en numbered as many as a dozen and would Th e result has been beyond our expectations. Th e player answers yes or no, and we go on be booked from a simple, acoustic duo to a 5 or 6 Th ee rrhythmhythm ssectionection ooff MMetkeetke (dr(drums),ums), FFountaineountaine fromfrom tthere...here... piece electric band depending on the client needs. (bass)(bass) andand myselfmyself (percussion)(percussion) isis anan incrediblyincredibly As leader, booking agent, owner and schlep- Th e line-up changed constantly which did little powerfulpowerful eexperiencexperience ttoo ttakeake ppartart in aandnd oourur ffrontront perper ooff tthehe PPA,A, wwebmaster,ebmaster, aandnd aall-aroundll-around ppromoterromoter to develop a market identity. (“Will the REAL lineline ofof EdwinEdwin FFountaine,ountaine, GalarneauGalarneau andand OttoOtto ppro-ro- ofof thethe bandband (business),(business), I ddon’ton’t ffeeleel iit’st’s aanybodysnybodys Wise Guys please stand up!”) While I will surely videsvides a uniqueunique andand excitingexciting soundsound thatthat I’mI’m proudproud business,business, (other(other thanthan myselfmyself andand thethe clubclub owner),owner), concede that the concept of maintaining a stable toto bbee a ppartart oof..f.. howhow mmuchuch tthehe bbusinessusiness iiss aactuallyctually mmakingaking - IIss aanyny of players capable of being confi gured to any job I wish Eric and the ever-changing cast of Th e businessbusiness oownerwner eexpectedxpected ttoo ssharehare aactualctual iincomencome was a viable one for Eric from a marketing point WiseWise GuysGuys allall thethe luckluck in thethe world.world. MeanwhileMeanwhile of view, it hardly provided the continuity necessary THOSETHOSE GUYGUYSS aarere kkickin’ickin’ aassss in PP-town!-town! CComeome oonn Continued on page 31

TWO LOUIES, January 2004 - Page 3 by Pierre Ouellette o leverage a metaphor by the late, great ous one to do it. (Only time and the critics will footage at many gigs and other venues, such as hot Ken Kesey, a lot of musicians get on the tell us if he was right). I played guitar in several rod cruise-ins and drives through the boys’ child- bus, but few have the spirit or perse- influential rock bands in the 60s, and served as hood neighborhoods, as well as interviews with veranceT to stay on for the full ride. Most expect an early inspiration to both Mesi and Bradley in journalists. The final cut is entitled “The Losers to get off at some nearby stop and be picked up by their teenage years. Later, I went on to become Club,” which refers to a loose confederation of a limo that carts them off to national recognition the creative partner in a major Portland ad agency, Portland musicians who found themselves without and incalculable riches. Still, a handful of players, where I picked up extensive experience in film and family during the holidays and congregated at the driven by brilliance and a strong internal compass, video production. So there you have it, a guitar guy old Parchman Farm on Thanksgivings to share each choose to stay on for the entire trip—regardless of with film chops on the side. Perfect, it seemed, for others’ company. Today, the Losers Club lives on whether it them brings fame and fortune. Every this particular gig. in a slightly different context, but is still centered American city has a handful of venerable musical Also, I had a whole new generation of video on rock, guitars and fast cars. artists that fit this profile. Along the route, they production gear on my side. Even a short time ago, The irony of the Losers Club is that, if you pass through early success, mid-term struggle, most documentaries where horrifically expensive want to be a member, you can’t be a loser. Members and finally into the relative comfort and security affairs, best left to professional grant seekers and come from a variety of professions, all the way from of legendary status. trust fund babies. They were shot on 16mm film, homicide detectives to public relations executives. Jim Mesi and Steve Bradley, each with three which required elaborate lighting, spendy film Some, like Steve and Jim, still play and record on decades of brilliant rock and blues under their processing, serious audio support, and specialized a regular basis. belts, are prime examples of this phenomenon. In editing facilities. But now, digital video cameras As 2003 comes to an end, the 20 hours of foot- early summer of 2002, I was discussing this fact and PC-based editing systems have brought the age has been cut down to a single hour, and will at a cocktail party with Bill Foster, director of the costs down to at least a tolerable level. be exhibited at the Mission Theater in Northwest Northwest Film Center. I mentioned that guys So, armed with the proper credentials and the Portland at 7:30 on Tuesday, January 13. Jim and like this deserve to be immortalized somehow, new digital gear, I began shooting Jim and Steve in Steve will play afterwards, and have agreed to let like through a documentary or some such thing. mid-August and continued through the end of the me sit in, as long as I don’t do anything too silly. Bill readily agreed, and added that I was the obvi- year. Along the way, I accumulated over 20 hours of We’ll see about that. LL

Page 4 - TWO LOUIES, January 2004 RECORD PRODUCER AGREEMENTS: require the producer to sign a side agreement If the producer owns the studio where the THE BASICS directly with the record company (sometimes project is going to be produced, generally the pro- Th is month, I want to talk about the basics called a “Producer Declaration”). Th is document ducer will submit a recording budget for the esti- of record producer agreements, i.e., the kind of will say that if there is any confl ict between the mated studio fees and the miscellaneous recording agreement used when a record company or a signed terms of the agreement between the artist and costs (e.g., session musicians). Th ese expenses will artist is hiring a record producer. producer, and the recording agreement between usually be referred to in the producer agreement the artist and the label, the terms of the recording but generally will not be considered as part of the AN OVERVIEW agreement will supersede and preempt the pro- advance to the producer. Under the terms of the typical record producer ducer agreement. Th is permits the record company 2. Payment of An Advance to the Producer. agreement, the producer is paid a cash advance. to, in eff ect, override any provisions in the producer Th e agreement will provide for the producer to be Th e producer will also be entitled to be paid agreement which are contrary to the label’s normal paid a certain cash advance. Th is advance will be recoupable from the producer’s future royalties, as shown in the example given at the beginning of this article. Sometimes, the advance is paid on a “per track” basis, and the amount per track can range from $1,000 to $25,000, and even more for top producers. 3. Producer Royalties. Usually the producer royalties on future record sales, subject to certain policies, and to avoid any contractual obligations royalty is in the range of 3% to 4% of the retail price conditions (described below). However, the record not already contained in the artist’s recording of records sold. For hot producers, the royalty is company, before being obligated to actually pay contract with the label. oft en higher. producer royalties, will be entitled to fi rst recoup Record Business 101: If you’re a producer, you In most instances, the band’s recording agree- (deduct) from those royalties the amount of the want to do everything possible, before you start ment with the record company will provide for an advance originally paid to the producer. Any producing a record, to try to get the record com- “all-in” artist plus producer royalty. For example, if remaining amount will then be paid to the pro- pany to agree in writing to pay you your producer there is an “all-in” artist/producer combined royalty ducer. royalties DIRECTLY, rather than you having to of 14% of the retail price of records sold, then if the So, for example, if the advance is $25,000 collect your producer royalties from the artist. producer royalty is 3%, the artist will receive the and the producer’s royalties eventually add up to First of all, the artist may very possibly not remaining 11%. Th is remaining percentage payable $60,000, then the producer will receive an addi- have the money to pay you when your producer to the artist is usually called the “Net Artist Rate.” tional $35,000 (i.e., $60,000, minus the original royalties become due. Secondly, even if the artist (Incidentally sometimes, particularly in the case of $25,000 advance). “directs” the record company to pay you directly, country music recording agreements, the royalty such directions are not binding on the record rate provided for in the recording contract is an RECORD PRODUCER AGREEMENTS: company, and so the record company may refuse “artist only” royalty, and not an “all in” (artist plus WHO SIGNS THE DEAL? to do so. producer) royalty rate. In that situation, the artist’s Depending on the terms of the artist’s recording Getting a record company to pay you directly royalty rate is not aff ected by what the producer’s contract with a record company, it may be the record will require not only a “Letter of Direction” signed royalty rate is.) company who contracts with the record producer, or by the artist, but also a document signed by the Producer agreements and recording agree- alternatively, it may be the artist who does so. record company, agreeing to pay you directly. ments usually provide that no royalties will be paid If the Record Company Is Signing Th e Deal. RECORD PRODUCER AGREEMENTS: to the producer until all recording costs have been If the producer agreement is between the producer THE BASICS recouped at the so-called “Net Artist Rate.” Using and the record company, the record company will Th ee b abasicsic p rprovisionsovisions o fof r erecordcord p rproduceroducer a gagree-ree- thethe eexamplexample ffromrom aabove,bove, if tthehe pproducerroducer rroyaltyoyalty iiss generally require a “Letter of Direction” from the artist, authorizing the record company to pay a “If you’re a producer, you want to do everything certain designated advance and royalty directly possible, before you start producing a record, to the producer. Depending on what approval rights are con- to try to get the record company to agree in tained in the pre-existing recording agreement between the artist and the record company, the writing to pay you your producer royalties record company may be contractually required to obtain the artist’s written approval as to the selec- DIRECTLY, rather than you having to collect tion of the producer, as well as the terms of the your producer royalties from the artist.” producer agreement. From an artist’s perspective, it is very important to have this right of approval, mentsments aarere aass ffollows:ollows: 3% andand thethe “all“all in”in” artistartist plusplus producerproducer royaltyroyalty isis since a “sweetheart deal” between a record com- 1. Payment of Recording Costs and Owner- 14%, then the “Net Artist Rate” is 11%. Once the pany and a producer can sometimes have very ship of Masters. Th e record company pays the amount of artist royalties (calculated at the “Net negative fi nancial repercussions for the artist. approved recording costs. Oft en there is an item- Artist Rate”) equal the total recording costs, the If the Artist Is Signing Th e Deal. If the pro- ized recording budget attached to the producer producer will be entitled to be paid royalties. As ducer agreement is between the producer and agreement. The record company will own all discussed in more detail below, the “artist royalties the artist, the record company will oft en (but not masters and will normally have approval rights calculated at the net artist rate” will not actually be always) have the right to approve or reject the over the masters. Th is gives the label the right to paid to the artist; this calculation of artist royalties producer. reject any masters which are not technically or is merely an accounting process, and is only done Also, the record company will typically commercially satisfactory. Continued on page 28

TWO LOUIES, January 2004 - Page 5 he Paramount had a rich history as a vaudeville theatre and was originally called Th e Portland Public Th eatre. Th eater- goers saw a 65 ft . high Paramount sign above the Marquee on Broadway containing roughly 6.000 theatrical lights. Now the sign says “Portland” harkening back to its original days- but certainly not its best. It was built in 1928 by Rapp and RappT, eminent Chicago theatre architects and had structurally stood the test of time, but showed the signs of wear that a grand dame does in her later years. Th is fact would ultimately be the one pointed at by the doyens of Portland- those who thought they knew what was best for this theatre and its citizenry. Aft er a prolonged, and bitter battle, the City of Portland basically stole the Paramount from its present owners through an act of “public indemnity/ condemnation”. We, those who loved this place were shattered, in shock- we had lost our home.

Page 6 - TWO LOUIES, January 2004 In 1971 the Paramount was acquired by Larry out. Then the Paramount’s parent corporation with hundreds of acts of all types, as a well-oiled Bailey, Eulysses Lewis and Norm Volitin who thought Michael McManus was best suited to be machine. Every department from security to con- brought in a very young Ed Twaites and Michael the General Manager of the Paramount, which he cessions to the ushers that hassled you in the aisles, McManus- then in their 20s to run the theatre. In did very well until it was hostilely taken over by to the cleanup crew that cleaned up your puke August of 72 they hired Phil Farber who says “he the City of Portland. and to the stage crew that moved tons and tons was a hippie off the streets” and hired for concert Enter Bob Ancheta: “My radio career began of gear, this was more than a job- this was magic cleanup who then became staff advisor and stage at KVAN 1480 in March of 1970, a rebel progres- here. Magic in sound and from spoken word to 50 manager in 1973-74. For the next few years, Buddy sive radio station playing rock blues or whatever thousand watts of Ozzy Osbourne, no matter what thethe sshow,how, iitt wawass eeasyasy ttoo sseeee ffromrom tthehe ddevotionevotion aandnd “Foghat threatened not to play one night dedicationdedication ooff tthehe ccrewsrews tthathat ““thethe sshowhow mmustust ggoo oon”n” waswas stampedstamped tootoo onon theirtheir heartshearts thethe minuteminute theythey because the right kind of pop wasn’t in their fi rstrst walkedwalked intointo thethe building.building. Paul White recalled an episode as stage dressing room. We told then not to play! manager:manager: “during“during a JacksonJackson BrowneBrowne show-show- BillBill They ended up playing anyway. It was the WaltonWalton complainedcomplained hehe couldn’tcouldn’t fi t intointo a seat.seat. SoSo wewe solvedsolved tthehe pproblemroblem bbyy jjustust llettingetting hhimim llayay ddownown beginning of bands demanding more stuff.” in tthehe oorchestrarchestra ppit.it. Th eerere h ehe wa wass j ujustst l alaidid b abackck - - proppedpropped up-up- handshands behindbehind hishis head-head- legslegs stretchedstretched Williams took over the theatre’s management we felt like. A truly amazing format not found in out in front of him happy as can be- just groovin’ with another McManus- Patrick while his bother, commercial radio today. Being in the radio busi- on the show” Michael- returned to manage other properties. ness made me cross paths with Michael McManus, Sally Custer off ered this tidbit- “Something DoubleTee next took over the Th eatre for about GM of the Paramount Th eatre. Eventually Michael happened at a Frank Zappa show which scared a year- doing mostly dinner shows. Michael off ered me a job as Staff Advisor, eventually leading the living daylights out of me. Frank started really McManus and “this bunch” as David Leiken put to being stage manager and Assistant Manager. late and the crowd was getting antsy- he was a it- returned in 1976, bringing in Jim McCale and As stage manager, my job was to make sure bands perfectionist and wanted to get everything exactly Farber back as General Manager. Farber was a loaded in their equipment, set it up and made right. Suddenly, I looked up at a commotion on Godsend according to Building Maintenance head sure the sound checks and show came off in a the balcony, and this guy took a nosedive off the Ray Brown. Farber started running shows like they timely manner. Believe it or not, some of the nicest balcony- just as Frank played “Suicide”. Luckily the should be- professionally- and on time. Phil recalls people I met backstage were John Denver, Barry guy wasn’t hurt and no one he landed on was either. a couple of times when the building itself was an Manilow, BB King, Peter Frampton, Bonnie Raitt, We were all spending a lot of time at the Virginia obstacle- like during an Ohio Players show when Jerry Garcia, Rush and a few others. Some of the Cafe and headed there immediately aft er the show their lasers blew out every fuse in the Th eatre and biggest assholes were Foghat. Th ey threatened not and pounded down a few.” the house was entirely dark. Th inking quickly, to play one night because the right kind of pop David Leiken off ered his Paramount memo- Farber’s stage crew literally ran down to a closed wasn’t in their dressing room. We told then not ries, “It started for us with 2 shows of the Grateful theatre and stripped its fuses bare- returning to to play! Th ey ended up playing anyway. It was the Dead in 1972 where we were the local promoter. install them at the Paramount and thus saved the beginning of bands demanding more stuff in their And 2 memorable things about that- one was the show. Soon aft er, another physical disaster occurred dressing rooms and we were not quite to the point fi rst night show all sold out- no more tickets and when a snow storm caused excessive water damage of giving them everything they wanted, but all that Ken Kesey pulled up in his- actually a couple of and leaking above the concession stand. With little eventually changed too.” buses with 60 or 80 people. Th ey were expecting or no money to repair necessary problems the From 1971 to 1983 every band that made it to sit in the front which ultimately they did, but pressure became overwhelming and Farber opted to the radio played the Paramount. We worked Continued on page 29

Th e Paramount crew 30 years later. photo Bill Phillips

TWO LOUIES, January 2004 - Page 7 Daylight Fright - Sequel Self-Produced show of hands, please. How many among you felt absolutely certain that you would never see a review of this band again? Especially in these pages! Just what AI though t Nearly unanimous. And such a supposition would be fully warranted- given the track records of the specifi c par- ties involved; and the inordinate amount of water (twenty years worth) under the proverbial bridge. For, Sequel disbanded long ago, in 1985 to be exact; while Two Louies remained, steering true her course through the myriad raging storms of vicissitudes which have intermittently beswept our local musical pond over the intervening years. And we only are escaped alone to tell thee. Th us was not always such. Once upon a time, at the dawn of the ‘80s, the Portland music scene was alive and thriving to the sounds of a multitude of what were to become known as “hair bands,” perhaps you remember the look from your youth: Continued on page 12

photo Buko Greg Georgeson at Sequel’s reunion show December 27th 2003.

Page 8 - TWO LOUIES, January 2004 appy New Year friends and people with the politics, the economy and the peace of Well, turns out she did and she yelled: “Hoff meis- of the Northwest! Flakes have fallen mind that comes with a healthy society. We made ter!’ D.K. Holme stood by, looking mildly amused. and we’re having an actual winter countless toasts in hope for peace and well being Kristy, of course, is one of the most talented writers here. H Please get out and make a snowball or just in the New Year. in Portland, and I hope she fi nds it in her heart to walk around! Many attendees at my party were also at forgive me. I left the party early, but rumor has it Being snowed in is the best excuse to listen to Th omas Lauderdale’s holiday open house at his that there was a catfi ght between two queens and a ‘More Soul Ballads’. I’ve been grooving to Teddy living space downtown on 1st and Yamhill. I was bartender. Whoopee! Never a dull moment. Pendergrass, Marvin Gaye, only there for a short time, but I I worked on Oregon Ballet Theatre’s the Percy Sledge, Clarence managed to get Oregonian writer Nutcracker and had a wonderful time. My favor- Carter and the Chi- Kristy Turnquist’s name wrong ite dancers this year were Larke Hasstedt, Gavin Lites. What can I not once but twice. I called her Kristy Larsen, Yuka Iino, Anne Mueller and Leann Under- say? I like wood. Th ere were some long, grueling hours, but I liked working for the new OBT Artistic Director Christopher Stowell. He’s doing a fi ne job and I always enjoy OBT’s Production Manager Jessica Flores the magnificent. She makes the whole theater experience funny and amusing. Jessica requests that the stagehands wear cos- tumes to some of the calls. One day was Hawaiian day and on Christmas Eve romantic music and consider these she insisted we all come in pajamas. oldies but goodies the perfect way to I wore an attractive green lounging greet the New Year. Nest in the greet- bathrobe, but the tour de force was the ing line has to be resolutions: I hereby black wig (like Catherine Zeta Jones in resolve to not drive drunk in 2004. Same Chicago). No one recognized me! promise as last year and one I’m proud I ended up taking the pajamas to say I’ve kept. off and changing into a party outfi t My New years Eve party was a for Chris Monlux’s Christmas Eve smashing success! All right, it forced party. Th e usual suspects attended, me to clean our house, but I was happy plus Scott Nakagawa who annually to wash the windows, polish the fl oors prepares some of the tasty treats (no joke), and throw open the doors to that Monlux serves up at his soi- Portland’s beautiful people. Th e evening rees. Th e scalloped potatoes are sparkled, highlighted by the seventies-style surely heaven sent and he also bar we set up in our garage that served fresh dresses carrots in ginger that I squeezed Mandarin and Lemon Drops with simply must gush about. your choice of frozen vodka pulled from our What else happened? Well, antique freezer. Later on during the wintry there was the Paramount reunion festivities, the cocktails switched to Brandy that was a great success. I love Manhattans, garnished them with sour Anne Farmer! We had a short cherries imported from Germany on vintage but lovely visit. She continues to cocktail skewers shaped like knights on a chess endear herself to others and me set and King Neptune’s forked scepter. with her love of Portland, not At midnight Eric Edwards, the famous to mention her longstanding and fabulous cinematographer, blew off crush on Michael McManus. fi recrackers and mortars in the street. While Equally endearing was how indoors, a tall and thin beauty named Audrey Farmer was used the December 2003 danced around, burbling spiritual absolutions Edmonds at fi rst, Two Louies as her calling card. and prayers for all of the world’s children, and and then I called her Kristy Eugenis before reaching What’s up for the future? Well, Portland Center Stage will move to the Armory in the Pearl “ManyMany a attendeesttendees a att m myy p partyarty w wereere a alsolso a att District and it will be another theater/building that has found that the money to build it will be the easy ThomasThomas Lauderdale’sLauderdale’s holidayholiday openopen househouse atat part, and manifesting the operating costs will be his living space downtown on 1st and Yamhill. the diffi cult (i.e., expensive) part. It will be tough for them to leave the comfort and good deal that I was only there for a short time, but I managed PCPA has aff orded them but I wish them all the greatest success. to get Oregonian writer Kristy Turnquist’s name Th is next year is going to be a lot more work. All I can say is that I’m ready and I want to thank wrong not once but twice.” all the faithful readers of the tradition called Two not so lucky ones, reminding us of our humanity. I that charmed third try. I apologized with a quip, Louies! couldn’t help but notice how everyone is struggling saying that she didn’t know my last name either. Write to me: [email protected] LL

TWO LOUIES, January 2004 - Page 9 Let’sLet’s seesee ifif therethere isis somesome goodgood adviceadvice inin thethe wordswords ofof otherother ccurrenturrent oorr eex-Portlanderx-Portlander mmusicianusician ttypes.ypes. Noah Peterson (Saxophone, leader of Th e NoahNoah PPetersoneterson “Soul-Tet”“Soul-Tet” andand NoahNoah PetersonPeterson Quartet)Quartet) – “Believe in myself, and behave that way”. Yes,Yes, goodgood advice.advice. A lessonlesson I continuecontinue toto learn,learn, andand relearnrelearn eeveryvery yyear.ear. Th e sesee t wtwoo b abasicsic p rprinciplesinciples h ahaveve a wawayy ooff wworkingorking hhandand in hhand.and. HHowever,owever, I hhaveave ttoo usuallyusually ““fakefake iitt ununtiltil I mmakeake iit”t” aactingcting aass iiff I bbelieveelieve untiluntil I fi nallynally do.do. Look for the release of Th e Noah Peterson Quartet:Quartet: ““LiveLive aatt BBiddyiddy MMcGraw’s”cGraw’s” wwhichhich wwillill bbee availableavailable in JJanuaryanuary ffromrom CD BBaby,aby, aass wwellell aass ggigsigs atat MMonteaux’sonteaux’s PPublicublic HHouseouse in BBeavertoneaverton aand,nd, ooff course,course, BBiddyiddy MMcGraw’s.cGraw’s. Annie Celsi (Singer-songwriter, solo artist, livingliving inin LosLos Angeles)Angeles) – “Spend more time on New Years Revolutions 2004 ofof aallll aagesges aandnd tthehe ggoodood vvibesibes fl oowed.wed. guitarguitar lessless timetime onon computer,computer, MoreMore timetime outsideoutside ere it is the New Year; 2004! Can you Let me also say Th e White Eagle continues to lessless ttimeime in ccar,ar, MMoreore ttimeime oonn pphonehone llessess ttimeime oonn dif it? If you’re reading this I assume mellowmellow wwithith aage,ge, bbecomingecoming oonene ooff tthehe ffewew nnight-ight- e-mail,e-mail, GiveGive generously,generously, ReceiveReceive graciously,graciously, TravelTravel you survived the holiday season spots,spots, ooffff eeringring lliveive mmusic,usic, wwhichhich iinn mmyy oopinionpinion moremore – crycry less,less, LoveLove big,big, worryworry small”small” Spoken like intact.H Some struggle with the holidays, others worthworth visitingvisiting onon thethe meritsmerits ofof thethe décordécor alone.alone. Th ee a truetrue LosLos Angelino.Angelino. ForFor meme thethe computercomputer manymany seem to take it all in stride. Personally, I had a great WhiteWhite EagleEagle existsexists in itsits ownown space,space, notnot connectedconnected timestimes ffeelseels mmoreore likelike mymy axe,axe, thanthan mymy guitarguitar ddoes.oes. time this year spending the week before Christmas withwith tthehe mmovementovement ooff mmodernodern ddayay ttime.ime. MMaybeaybe iit’st’s MaybeMaybe ProToolsProTools isis thethe answer?answer? DialDial meme upup when-when- in Portland with family and old friends. It always duedue toto thethe ghostsghosts thatthat purportedlypurportedly haunthaunt thethe cor-cor- everever yyouou ggotot ssomeome hhotot dirdirt.t. I mmayay hhaveave ttoo oopenpen tthehe feels good to come home at Christmas, as it is the ridors.ridors. IfIf Th ee WWhitehite EEagleagle iisn’tsn’t aa hhistoricistoric llandmarkandmark sunsun rroofoof mmoreore ooftft e nen a sas I Id odon’tn’t t hthinkink I ’I’llll b ebe g etgettingting time of year when I am most nostalgic, memories already,already, iitt sshouldhould bbe.e. awayaway fromfrom spendingspending a couplecouple hourshours a dayday onon thethe of childhood and other past Oregon Christmas’s Predictions,Predictions, WWhateverhatever road.road. EmailEmail isis a greatgreat wayway toto speakspeak withoutwithout beingbeing dancing in my head. At the risk of sounding cynical, today’s main- interrupted;interrupted; howeverhowever I missmiss thosethose juicyjuicy late-nightlate-night At Th eir Holy Model Majesties Request streamstream musicalmusical worldworld willwill continuecontinue toto becomebecome gossipgossip sessions.sessions. Th ee ssuccessuccess ooff AAnny’snny’s 22003003 rreleaseelease Being the season to be jolly, but on a tight moremore aaboutbout ccorporateorporate pprofirofi t andand loss,loss, mmassass mmar-ar- “Little“Little BlackBlack Dress”Dress” hashas beenbeen coveredcovered inin thisthis articlearticle schedule, a quick scan of the Willamette Week keting,keting, technologytechnology andand “15 minutesminutes ofof fame”.fame”. Th ee in pastpast iissues.ssues. WWhat’shat’s uupp fforor aann eencore?ncore? fi lls me in on any musical events worth checking RIAARIAA seemsseems toto bebe succeedingsucceeding in killingkilling thethe funfun ofof Duane Jarvis (Singer, Guitarist, Songwriter, out. It doesn’t take long to see the obvious choice; thethe oonlynly nnewew iinnovationnnovation iinn rrecentecent mmemory;emory; mmusicalusical livingliving in Nashville)Nashville) – “To dig it while I’m here, to Th e Holy Modal Rounders at Th e White Eagle on downloading.downloading. EverEver thethe for-payfor-pay downloaddownload sitessites areare bebe hhereere ttoo rrememberemember mmyy rresolution”.esolution”. Yes, here is SundaySunday DecemberDecember 21st.21st. Th iiss hhasas aallll tthehe mmakingsakings ooff a great night out, as well as a chance to reacquaint “Led by maverick folksters Peter Stampfel and myself with two of Portland’s longest ongoing institutions in the same evening. Steve Weber,Weber, the Holy Modal RoundersRounders were an For those of you who may not know, Th e eye-opening blend of Greenwich Village strum, HolyHoly ModalModal RoundersRounders havehave performedperformed onon andand offoff again since the sixties, forming on the East Coast Kentucky bluegrass and Appalachian drone– and relocating to Portland somewhere along their long strange trip. Th e Internet 60’s re-issue label topped off with enough mind-altering chemicals Sundazed www.sundazed.com provides a pretty to derail the WabashWabash Cannonball.”Cannonball.” good description of the what Rounders vibe is all about: “Led by maverick folksters Peter Stampfel receivingreceiving fewerfewer hits.hits. MostMost newnew musicalmusical actsacts seemseem thethe answer.answer. IfIf werewere nnotot havinghaving somesome funfun takingtaking and Steve Weber, the Holy Modal Rounders were toto bebe usingusing theirtheir talentstalents toto drivedrive a bling-blingbling-bling fabu-fabu- onon thethe challengeschallenges ofof thethe worldworld wewe probablyprobably won’twon’t an eye-opening blend of Greenwich Village strum, lous,lous, angst-byangst-by thethe numbers,numbers, sexlesslysexlessly provocativeprovocative fullyfully appreciateappreciate thethe rewardsrewards thatthat comecome ourour way.way. InIn Kentucky bluegrass and Appalachian drone–topped agenda.agenda. Th eerere aarere ssomeome mmainstreamainstream eexceptions,xceptions, fact,fact, manymany timestimes thethe funfun wewe havehave alongalong thethe wayway off with enough mind-altering chemicals to derail notablynotably aartistsrtists llikeike OOutkast,utkast, Th e eW hWhiteite S tStripes,ripes, IS thethe reward.reward. Also,Also, toto getget thethe rewardreward wewe havehave toto the Wabash Cannonball.” LucindaLucinda WWilliamsilliams aandnd Th ee RReded HHotot C hChiliili P epPepperspers remainremain in thethe game.game. BeBe itit thethe gamegame ofof musicmusic oror Th ese guys defi nitely know how to put the whowho ppresentresent a ununiqueique vvisionision wwithoutithout sstoopingtooping ttoo thethe ggameame ooff liflife.e. “Hoot” in Hootenanny. It’s hard to explain the beingbeing meremere employeesemployees ofof thethe starstar system.system. However,However, Th e eL iLightght a tat t hethe E ndEnd o fof t hethe T unTunnelnel appeal of an out-of-control jam band manned thethe musicmusic offoff eredered reflrefl ectsects thethe postpost 911,911, dumbed-dumbed- Th e panic attack resides and I’m beginning to by middle aged hippie punks playing bastard- downdown democracydemocracy andand mediamedia doublespeakdoublespeak thatthat isis feelfeel bbetter.etter. II’m’m ggoingoing ttoo bborroworrow tthehe rresolveesolve ooff mmyy ized versions of old-timey music with irreverent, moremore andand moremore ourour societysociety today.today. ItIt feelsfeels likelike it’sit’s musicalmusical ffriendsriends aandnd fi ndnd a wayway toto live,live, lovelove andand politically-satirical lyrics other than “you had to goinggoing ttoo ggetet a lilittlettle wworseorse bbeforeefore iitt ggetsets bbetter.etter. laughlaugh in thethe faceface ofof today’stoday’s uncertainty.uncertainty. It’sIt’s reallyreally be there”. I fi rst became aware of the band was Resolutions,Resolutions, EEtc.tc. thethe ssameame fi gghtht tthathat hhasas bbeeneen ggoingoing oonn ssinceince tthehe as a wee lad back in the early 70’s when they used OK, I admit it. It’s a new year and I’m freaking beginningbeginning ofof time;time; thethe freefree mindmind versesverses thosethose whowho to turn up on live broadcasts on KINK FM, back out!out! It’sIt’s justjust thatthat I don’tdon’t knowknow howhow I amam goinggoing toto wouldwould control.control. ForFor 2004 mymy resolutionresolution isis toto keepkeep when KINK was still trying to be the “Underground continuecontinue tthehe mmadad ppaceace tthishis wworldorld rrequiresequires ttoo ggetet searchingsearching fforor aandnd sspeakingpeaking tthehe ttruth,ruth, aandnd ttoo bbringring Link”.Link”. ObviouslyObviously I’mI’m notnot shyshy aboutabout datingdating myselfmyself aheadahead thesethese days,days, whenwhen thethe governmentgovernment andand bigbig lightlight toto thatthat whichwhich deservesdeserves recognition.recognition. OhOh yeah,yeah, here. Anyway, Th e Rounders did not disappoint my corporationscorporations onlyonly wantwant toto turnturn usus allall intointo wagewage andand toto ggetet mmyy aarticlesrticles in oonn ttime.ime. distant memories. Th e night brought out hippies slaves,slaves, oror throwthrow usus outout ofof thethe systemsystem completely?completely? Peace! LL

Page 10 - TWO LOUIES, January 2004 ortland’s only pirate band (as far as I Oregon 97212 or WWW.PIRATEJENNY.COM know) “Captain Boggs and Salty” is Singer songwriter Myrrh is close to complet- hard at work on their next album of ing his next solo album and talks of an all acoustic pirateP theme songs and stories, their fi rst album band. Myrrh is known to blow everybody away at “Bedtime stories for Pirates” is a clever and creative most open mikes here in Portland because of his selection of music and very tall tales spoken in a incredible vocal range which can reach into the colorful and hilarious dialect amongst several very stratosphere and can be a real liability for most crusty sounding blokes indeed, I haven’t heard this clubs that have cheap beer glasses. Myrrh is a Las sort of language since I played a biker gig in the Vegas transplant and it’s a sure bet that he will be Gorge a few years ago, I’ve always felt that bikers making a name for himself locally if not nationally are the pirates of today, think about it. with the release of this nearly year long recording Anyway these guys have got it going on, just project and new band. I met Myrrh when he was when most of us zig they zag, and although I haven’t working in “Tuesdays Taken” with the awesome seen them in a club or on stage I got to hear them Adrienne Gunn who hosts a great Karaoke at the rehearse and their music skills are great. It’s nice Etcetera Tavern on N.E. 33rd and Killingsworth to hear good backup vocals and harmonies which and plays most acoustic venues in the area. Look have been missing from the rock scene as of late for Myrrh’s new CD soon it’s going to be hot. (arggh!). I also like the idea that a band can appeal Bassist Fred Garner heads back to L.A. to to younger audiences which is also smart business work on more lucrative projects, Fred is an excel- because kids do buy CD’s and they may remain fans lent bass player who moves back and forth from for a long time if you aff ect them in the right way. Los Angeles to Portland depending on work and “Bedtime stories for Pirates” is a nine track availability. While in town Fred has worked with “Led by maverick folksters Peter Stampfel and CD with Captain Angus Bogg on bass guitar, swab Obi Addy, Aaron Black, Stu Kinzle and Lynn Ann Steve Weber, the Holy Modal Rounders were an Salty on melodica, fi rst mate McGraw on piano, Hyde, Papa Salty and Sam Bam Boo. Fred also cabin boy Chucklehead Pete on guitar, bosun Mr. worked for and grew up in the vicinity of Fender eye-opening blend of Greenwich Village strum, Gilly on fl ute, gunner Buckle on xylobones and Music and has many cool stories about Leo Fender Kentucky bluegrass and Appalachian drone– sea cook Sunny Jim on the snare drum. Each song features an all-star player as well, RECRUTIN’ THE topped off with enough mind-altering chemicals CREW features Botielus on the worlds best original to derail the Wabash Cannonball.” accordion music, I’M A SINGIN’ PIRATE features Paul Iannotti on crew vocals, DEEDLE DEE TOE features Paul Iannotti again on crew vocals, CAT O’ NINE TAILS features John Morgan on drums, SCURVY features Andy Lindberg, Ted Douglas and Ron Lee on crew vocals and John Morgan on and some of the other characters that helped drums, WEATHER EYE features Jeff Saltzman develop the electric guitar as well as Rickenbacker on guitars and bass and John Morgan on drums, and several other southern California instrument BILLY BONES (Tale) features Brandon Campbell companies. Good Luck Fred. and Andrew Simpson, MANATEE features Andy Burlingame Pizza apparently had closed Lindberg on words, music and vocal and Tracy before telling previously booked acts like Juana Biggerstaff on mermaid vocal and THE POLLY- Camilleri and several others. Th is oft en happens WOG feature once again the incredible Botielus on when a club is about to go down in this shaky music accordion. Th e cover art and illustrations are well economy but that’s the breaks. Juana did complete done by Freddy Martin, Jeff Saltzman was the Chief two of the fi ve booked dates at Burlingame and the engineer and Paul Nelson did the sound design on shows were both excellent and featured other acts Deedle Dee Toe and Billy Bones Tales. All songs as well as Juana. and stories on this CD were written and performed Well, take care and keep on playing in 2004, by Kevin Hendrickson and Loren Hoskins. For and don’t give up on your music dreams ever! more information on Captain Boggs and Salty contact Pirate Jenny at P.O. box 12264 Portland LL

TWO LOUIES, January 2004 - Page 11 speciesspecies wwereere aalsolso kknownnown ttoo ffrequentrequent tthesehese ssameame toto aappearppear oonn bbothoth aalbums.lbums. sites.sites. Th iiss mmuchuch aalonelone wwouldould qqualifyualify SeSequelquel f oforr a a In an exceedingly rare instance of actual hard- mentionmention in anyany honorhonor rollroll ofof locallocal rockrock bands.bands. ButBut hittinghitting “journalism,” Two Louies, smelling a rat, thatthat iiss jjustust tthehe bbeginningeginning ooff ttheirheir sstory.tory. steppedstepped ttoo tthehe ffore,ore, cchargingharging BBobob AAnchetancheta wwithith a Continued from page 12 Propitiously enough, they were not only conflconfl ictict ofof interest:interest: forfor actingacting asas SequelSequel’s manager the shaggy, highly teased mane, the sleeveless t- bookedbooked byby AndyAndy Gilbert,Gilbert, notoriousnotorious headhead ofof thethe whilewhile simultaneouslysimultaneously promotingpromoting themthem throughthrough hishis shirts, set off with the de rigueur kerchief, draped locallylocally ppowerfulowerful PPacifiacifi c TTalentalent aagency,gency, bbutut SSequelequel positionposition atat KGON.KGON. ReceivingReceiving severalseveral offioffi ccialial llettersetters loosely at the neck; tight pants (spandex if possible), werewere aalsolso mmanagedanaged bbyy BBobob (“The Big B.A.”) ofof ccomplaint,omplaint, tthehe FCFCCC eeventuallyventually llookedooked iintonto tthehe secured with an array of metal-studded belts, made Ancheta,Ancheta, wwhoho aalsolso jjustust hhappenedappened ttoo bbee a pprime-rime- matter.matter. BButut nnothingothing eeverver ccameame ooff aanyny aassertions.ssertions. to look like bandoleros In some cases, the music timetime ddiscisc jjockeyockey fforor tthenhen ddemographicallyemographically ddesirableesirable Two Louies was hardly a favored publica- seemed secondary to the outlaw rock cowboy look. KGONKGON radio.radio. tiontion in SequelSequel’s world view in the fi rst place Th e But, whatever the case, at the top of that particu- As with a few other more successful bands, relationshiprelationship bbetweenetween tthehe bbandand aandnd oourur iillustriousllustrious larly popular heap of local hair bands (an image SequelSequel rreleasedeleased a llocally-producedocally-produced ffullull llengthength publicationpublication wwasas aalwayslways ccontentious,ontentious, ttoo ssayay tthehe probably best not dwelled upon) was Sequel. album.album. WhileWhile manymany bandsbands werewere puttingputting outout 4545’s veryvery least.least. MuchMuch ofof thethe problemproblem stemmedstemmed fromfrom a Modeled after any number of successful, in tthosehose ttimesimes (s(stilltill tthehe ccoinoin ooff tthehe rrealm,ealm, eevenven iinn columncolumn whereinwherein TL staffstaff writerwriter GaryGary Aker,Aker, posedposed slightly metal-ized new wave pop/rock bands of thethe earlyearly ‘80s) the expense of a full-length album thatthat infamouslyinfamously crass,crass, cynicallycynically snidesnide andand sublimelysublimely the day- as were being showcased on the nascent (oft(oft e nen in in t hthee n eneighborhoodighborhood o fof t etenn t hthousandousand d odol-l- rhetoricalrhetorical mmusicalusical qquestionuestion , “Sequel to what?” Th at

“Sequel were widely pursued by huge fl ocks of youthful feminine pulchritude- who themselves mostly resembled some variation of Farrah Fawcett Majors- an actress who mysteriously maintained a staunchly ironclad fashion infl uence among a deep stratum of young Portland females, long, long after her career had swerved into an irrevocable death roll.”

MTV music video network (especially acts such lars), proved fi nancially prohibitive to the typical question was never satisfactorily addressed nor as Boston, Journey, Cheap Trick, the Romantics, band of the day. resolved. It simply caused a lot of trouble. the Cars, Loverboy, Rick Springfi eld and Bryan Sequel’s eponymously entitled fi rst album, Sequel broke up in 1985, having only released Adams), Sequel were widely pursued by huge fl ocks whichwhich wwasas pproducedroduced bbyy tthehe llegendaryegendary MMarlonarlon thethe oonene aalbum.lbum. OOddly,ddly, oonlynly bbassistassist TToddodd JJensenensen of youthful feminine pulchritude- who themselves McLainMcLain (of(of PleasurePleasure ffame)ame) andand rreleasedeleased iinn 11982982 wentwent onon toto greatergreater successsuccess onon a nationalnational level,level, mostly resembled some variation of Farrah Fawcett onon Double-TDouble-T DavidDavid LeikinLeikin’s Lucky records label, joiningjoining tthehe bbandand HHardlineardline ((whichwhich ffeaturedeatured NNealeal Majors- an actress who mysteriously maintained a soldsold wellwell onon a regionalregional level,level, withwith severalseveral songssongs Schon,Schon, formerlyformerly ofof JourneyJourney andand SantanaSantana beforebefore staunchly ironclad fashion infl uence among a deep receivingreceiving rregionalegional raradiodio aairplay.irplay. that)that) onon MCAMCA withwith SalemSalem drummerdrummer DeenDeen Cas-Cas- stratum of young Portland females, long, long aft er Exploiting a dramatic rise in interest in local tronovo.tronovo. LLater,ater, TToddodd pperformederformed oonn a PPaulaul RRodgersodgers her career had swerved into an irrevocable death recordingsrecordings ((withwith iinnumerablennumerable ssamplesamples ffromrom wwhichhich (Free,(Free, BadBad Company)Company) albumalbum andand tour.tour. HeHe alsoalso roll. To this very day, vestiges of the Farrah Fawcett toto choose),choose), KGONKGON rreleasedeleased ttwowo “homegrown” spentspent ssixix mmonthsonths rrecordingecording ddemosemos wwithith OOzzyzzy phenomenon can still be observed within a variety compilationcompilation aalbumslbums ffeaturingeaturing rregionalegional ttalent.alent. Osbourne;Osbourne; eeventuallyventually lleavingeaving tthathat ggigig ttoo ttourour fforor of local sub-cultures. CompetitionCompetition aamongmong bbandsands wawass eextremelyxtremely iintensentense severalseveral yearsyears behindbehind thethe likeslikes ofof DavidDavid LeeLee RothRoth As is most usually the case, because the forfor sselectionelection ttoo oonene ooff tthehe ccovetedoveted ttenen ttracksracks oonn andand AliceAlice CCooper.ooper. aforementioned fi ne-feathered creatures tended to thethe aalbum.lbum. HHowever,owever, KKGONGON inincurredcurred tthehe wwrathrath But, for the most part, the remaining mem- congregate at watering holes at which Sequel was ofof manymany rejectedrejected acts,acts, whenwhen itit becamebecame knownknown thatthat the performing act, large groups of males of the SequelSequel justjust happenedhappened toto bebe thethe onlyonly bandband selectedselected Continued on page 26

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Owner: Karl Brummer Instruments: Alesis D4 drum module, Roland JV-1010 sound module, Apache Recording Studios 88 key Yamaha P-80 4009 E. 18th St. keyboard controller, 5 Vancouver, WA 98661 Ft Young Chang baby Vancouver phone: (360)694-5381 Grand Piano, Hammond Portland office: (503)293-9266 C2 with 122 Leslie, Boss GT3 Guitar Processor, APA Studio Roland Juno-1 keyboard, Mollala, Oregon Korg 01W/FD, Fender (503)730-5347 P-Bass Lyte Bass Guitar, Owner:JR Boykin Fender P-Bass Zone Bass Engineer/Producer Smokey Guitar, Rougue Fretless Facilities: 18 X 28’ performance space Culture, Sugar Beets, Tom May, Jim Wymer(503)760-3918 Bass Guitar, Fender Standard Strat, Rates: New Band Demo special * 5 hrs which can be divided for isolation. Ceil- Page, Gino Vanelli, Chris Lee/Colleen Fender Telecaster, Samik Electric Guitar ings vaulted to 17’. Obrien, Cold Mountain, Steve Pile, for a hundred bucks*$30 hr additional with Floyd Rose, Taylor 314-CE Acous- time. 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Gear: Apple Macintosh G4 400mhz, Recording is a full service facility Corbett, Oregon Partial list of labels & artists: Wind- 3 10 gig Seagate Cheetah drives, 120 capable of providing demo recording, Producer/engineer: Billy Oskay ham Hill, Narada, Sugar Hill, Hearts of gig firewire drive, Lacie, Yamaha and orignal composition, digital 2nd Engineer: Jordan Kolton Space, Green Linnet, Nightnoise, John Pioneer CD/DVD burners, Masterlist editing, and post production assistance web site: www.bigredstudio.com Doan, Alasdair Fraser, Kevin Burke, & Toast cd Authoring software, Power for all your needs quickly e-mail: [email protected] Martin Hayes, Hanuman, Johnny Mac 8500, Yamaha NS-10 Studio Moni- and affordably.Please call for rates. phone: (503) 695-3420 Connolly, Alan Jones, Portland Acoustic tors, Midiman USB Interface, 2-Alesis Unique package rates and financing of Guitar Summit, Dave Carter/Tracy 3630 Dual Channel Compressor/Lim- projects. Grammer, N’ Touch Band, Rhythm iter, 8 channels of Berhinger compres- Continued on page 14

TWO LOUIES, January 2004 - Page 13 Doctor Digital; Th e Sync Ward Studios Portland, OR (503) 892-0043, 1-888-373-4485 Email: [email protected] Owner: Mark Frethem

Don Ross Productions 3097 Floral Hill Drive Continued from page 14 Eugene, OR 97403 (541) 343-2692 Fax: (541) 683-1943 Crossroads Productions Email: [email protected] 7708 NE 78th St. www.donrossproductions.com Vancouver, WA 98662-3632 Owner/Engineer: Don Ross (360) 256-9077 Tracks: 32 track Digital, 24 track Analog Web: www.crossroadsproductions.net Rates: $70.00-$85.00 Email: [email protected] Equipment: Otari MTR90 II 24 track Studio Manager: Ron Stephens 2‰ Analog, Digidesign Pro Tools Mix Studio Assistant: Danielle Jenkins + w/ 3-888 24 I/O’s, SSD, Waves gold Engineers: Paul Ehrlich, Craig Smith bundle, Bomb Factory, Meek & many Tracks: ProTools HD 192 w/24 I/O and other plug ins, 24 trk. Tascam DA-88’s- lots of plug-ins; Otari 2” 24 and 3M mods by Audio Upgrades w/RC 848, 1/2” 2 trk. SY88 & IF88AE, Tascam DA30 MkII, Equipment: Neve 5315 console; Fostex D-10 Time code DAT,Tascam Focusrite, API, Manley and Altec CD-RW5000 CD recorder, Revox PR-99 mic pres; URIE, Spectra Sonics and MkII & B77 1/2 track analogs; Tascam Smart Research limiters; AKG, ATM, M-3700 32x8 automated console CAD, EV, Microtech-Gefell, Oktava, w/mods by Audio Upgrades; Genelec Rode, Tracy-Korby, Shure, Soundelux 1031,Tannoy NFM 8, Yamaha NS-10, mics; Lexicon 960L, Eventide, and TC & Auratone 5C monitors; Aiwa, & Electronics eff ects. PMC and Yamaha Tascam cassette decks; Lexicon PCM monitors. Call or write for exhaustive 80, TC M2000 LXP-1’s, LXP-5’s w/MRC equipment list. & Yamaha SPX90’s reverb/delays; Instruments: Yamaha C5 grand w/ Manley ELOP, Manley Vari-Mu, Aphex Gulbransen midi mod; B3 w/ 122 Leslie; 661’s,106, & 720 Dominator II, Draw- Pearl and Slingerland drums; Vox AC- mer DL24, Ashly SC-50 comp/limit- 30, Gibson GoldTone, Rivera, Line 6 ers; BSS DPR-504 & Aphex 105 Noise guitar/bass amps. Too many synths and Gates; Aphex Aural Exciter, Aphex 109 MIDI tone modules to list. & Symetrix SX201 parametric EQ’s; Notes: Designed by Russ Berger, and Avalon 737SP’s, Millennia HV-3C, built to his exacting specifi cations, Neve 1272’s (4), Peavy VMP-2, Gaines Crossroads Productions is the area’s MP-2 mic pre’s. Mic’s: Neumann U87’s largest dedicated recording facility. Th e (mods by Klaus Heyne), KM84’s(mods distraction-free environment is espe- by Kaus Heyne), Lawson L-47MP tube, cially conducive to creativity. Due to AKG 460’s, 451’s, Sennheiser MD 421, the acoustically accurate control room EV RE20, 408B’s, Shure SM7’s, SM53’s, and PMC monitors, Crossroads has also & 57’s. Other Important Stuff : 1927 become a favorite Mastering facility Steinway M grand piano, Kurzweil used by other local studios. PC88 MX, Ensoniq EPS, Opcode Studio Clients: Wayne Krantz, Bobby Torres, 3, JL Cooper PPS-100, dk10 KAT, Alesis Gary Ogan, Jon Koonce, Anne Weiss, D4, Pre CBS Fender Super Reverb, Brett Williams, One Shot, Sky View HS, Zoom 9050, JVC CR-85OU 3/4” video Prairie HS, Woodland HS. deck w/SMPTE address trk., Sony video monitors 13” & 20”, Fostex 4010 Dave’s Attic Productions SMPTE, Symetrix TI-101 phone patch, Washington Square Area Telos Zepher ISDN patch & a Braun 10 Portland, OR cup coff ee maker. (503) 768-9336 Clients: Sony, Disney, PBS, Mason Owner: David Fleschner Williams, Beth Singer, Justin King, Sugar Beets, Paul Chasman, Byron Dead Aunt Th elma’s Studio Berline, Strangers, Multiple Sarcasm, PO Box 82222 Betmars, Babe’s with Axes, Terry Robb, Portland, OR 97282-0222 David Jacobs-Strain, T.R. Kelley, Debbie (503) 235-9693 p Diedrich, Boogie Patrol, Tracy Bonham (503)238-9627 f & many more-check out web site music New larger quieter playing rooms Web: www.thelmas.com client list at www.donrossproductions. New Hi Rez mastering Studio Manager: Mike Moore com. Offi ce Manager: Nicole Campbell Quality Duplication Owners: OCP Publications Falcon Recording Studios New tube Vocal mic 15A S.E. 15th Portland, OR 97223 4 song multitrack recording, DeFunk Audio/Sonare Mastering 4531 N. Albina Street (503) 236-3856 mixdown, mastering, 25 CDs $499. Portland, Oregon 97217 Fax: (503) 236-0266 Email: [email protected] some conditions apply (503) 288-3353 Email: [email protected] Contact: Dennis Carter. Owner/Engineer: Sean Gilbert

Page 14 - TWO LOUIES, January 2004 Freq. Mastering Alesis Midi Verb, BBE 802 Exciter,JBL 1624 SW. ALDER #311 4311 Monitors, Auratone Monitors, PDX, OR. 97205 KLH Monitors, Panasonic 3700 Master- (503) 222.9444 ing Machine, Otari Analog 1/2 Track Web: www.freqmastering.com Mastering machine; wide selection of Portland’s Pro Mastering Studio mics: (AKG, RODE, SENHEISER, E.V., Contact: Ryan Foster SHURE, BYER, AUDIO TECHNICA) Equipment: Sadie Artemis 24/96 MIDI EQUIPMENT: Mac G-4 w/ Mastering System, DCS904 24 bit A/D CUBASE VST 32 5.1 Proteus 1 Sound & DCS954 24bit D/A both 192KHZ & Module, Yamaha TG100 Sound Module, DSD capable, Apogee1000 A/D & D/A, Zoom RT -123 , ESQ-1 Cranesong Hedd 24 bit A/D &D/A , Keyboard, Casio Midi Guitar GML 9500 5 band Mastering EQ, Weiss Clients: Vivian’s Keeper, LaRai, Fran EQ1 MK2 digital 7 band parametric, Gray, Brock Noyes, Genevieve Goodell, Manley Vari-mu stereo compressor, John Myers, John Hoffman, David Weiss DS1 digital split band dynamics Graham, Poison Okies, Jonathan processor, Maselec stereo compressor, Berman, Al Pasque, Marc Hansen, Genelec monitors, Mike Spitz ATR 100 Sidekicks, Little Joe, Cory Brunish, 1/2” Mastering deck, Tascam DA 45R Dixie Party Jazz Band, Bill Deiz, Enuf, 24 bit Dat Machine, Panasonic 3800 Dat Chris Harris, Kevin Johnson, Al Pasche, machine, Dennon cd player, Dennon John Skank, Savy, Ken Vigil, The cassette decks, Mytek digital Mastering Worthingtons, Les Ouvier du Christ, meter, Z-Systems 16 i/o digital router. and Christine Young. Clients: Sony, Loosegrove, Sub Pop, Astralwerks, FT Records, Resistor, Gung Ho Studios Shortwave Records, Estrus, Elemental, 86821 McMorott Lane T/K Records, Top Secret, Darla, Rain Eugene, Oregon 97402 Records, Burnside Records, Jus’ Family (541) 484-9352 Records, Bombay Records, M.A.H. Owner: Bill Barnett Records, Empty Records, Dohnut Records, Rainforest Records, Cool Haywire Recording Nutz, Satan’s Pilgrims, Jesus Presley, Southeast Portland Silkenseed, Chata Addy, Gino Vanelli, P.O. Box 66381 PDX OR 97290 Land of the Blind, Ken De Rouchie 503-775-7795 Band, Hungry Mob, Life Savas, Live at Email: [email protected] Laurelthirst, Izaya, Heavy Johnson Trio, Web: http://www.haywirerecording.com Daylights, Hummingfish, Kerosene Engineers: Robert Bartleson Dream, Loveload, Jollymon, Gus Van Tracks: 8/16/24 tracks, Analog or Sant, Systemwide, Grindstone,Floater, Digital Countrypolitans, Here Comes Every- Services: Live & Remote Recording, body, Mel, E-40, Sally Harmon, Rattling Free-Lance, Engineering and Thunder, Dickel Bros, D.B.A., Ras Kass, Producing, In-house Studio Recording, Kurrupt, B-Legit and many, many, CD Mastering more.(Please check out our website for a Specialties: Remote Recording & more complete list). Producing Rates: Live & Remote recordings: indi- Fresh Tracks Studio vidual quotes; 24-track recording: $25/ 1813 S.E. 59th hr or ask about block rates. Freelance Portland, OR 97215 engineering $25/hr + studio costs. (503) 235-7402 Equipment: Compressors; GML 8900 Email: [email protected] stereo peak limiter, Urei 1176 compres- Web: http://www.freshtracksstudo.com sor/limiter, (3) DBX 160x compres- Owners: Jon Lindahl sor/limiters. Engineers: Jon Lindahl and Casey Spain Microphones; Neumann U48 tube Tracks: 32, 24, 16, & 8 ( 24 tracks hard mic, (2) Neumann KM 84, (2) AKG disk) 16 tracks of digital & 16 tracks of 414 ULS, (2) AKG 460, AKG D112, analog) (6) Shure SM 57, (4) Sennheiser 421, Rates: $40 for 32 track, $35 for 24 track, Beyer M260 Ribbon, Shure 55s. Tape $30 for 16 track, & $25 for 8track. Machines; Panasonic SV3700 DAT, Equipment: 2 each XT Alesis ADATS, Tascam 48-B 1/2” 8 Track Recorder, (2) Analog 1” MS-16, Hard Disc, Cubase Tascam DA88, Tascam 122MKII cas- w/Mark of the Unicorn 2408 (Multi sette deck. Effects; Lexicon PCM 42, Track recorder/automation/remaster- Yamaha SPX 900, Yamaha SPX 90, ing), All synced via JL Cooper Syncron- SONY MPS, Huges Sound Retrieval izer, Pansonic CD Burner, 24x8x2 System. Misc: 8 Channels of API 550A Soundcraft Mixing Console, ART MPA EQ‚s, (2) Neve split Mic Pre/EQ, V/T dual tube mic pre-amp,DBX 266 Dual Tube DI. Amplifiers; Ampeg Portaflex Compresor/Gate,DBX, 160x, DBX B-15 bass amp, 60’s black face Fender 163x Compressor, Dbx163 Compressor, Pro - Reverb, 1973 Marshall JMP head Biamp Quad Limiter/Gate, DBX 463x with 60’s Cab, Vox Royal Guardsman, Gate, Yamaha 31-band EQ, Biamp Dual Vintage Supro Guitar amp. Monitors: 10-band EQ, Rockman Guitar preamp, Yamaha NS-10 Studio. Rockman Stereo Delay/Chorus, Roland Clients: Wilco, Skiploader, Desert City SRV Reverb, Roland SDE 1000 Delay, Art SGE Mach 2 Effects Processor, Continued on page 18

TWO LOUIES, January 2004 - Page 15 WHY PORTLAND HATES SEATTLE “It’s one thing to say, in conversation, you Because they’re always re-writing the history produced “Louie Louie” but it’s another to put it of the music business to make a few extra bucks. in print,” says Mike Mitchell, guitarist on “Louie And eBay lets ‘em get away with it… Louie” and the only original member remaining in the Kingsmen “Th at eBay pitch is just pure fi ction. But fi rst, the Backstory… Ken Chase is the guy who produced ‘Louie Louie’. All actors want to direct, and all musicians He’s the one who took us in the studio and insisted want to produce. we record that song. It was months before we even Like the director in fi lm, the producer in met Jerry Dennon.” music is the fi nal decision maker in the creative Jerry Dennon was just a label suit… recording process. He selects the material, dials in “Ken Chase never got enough credit for the engineer’s wizardry and stops the musicians producing ‘Louie Louie’, says Mike. “Ken booked when the energy sucks, or the clams mount up. the time and told us what to play. We did it as an It’s his show. audition for a cruise ship job. Ken was the one that decided ‘Louie Louie’ was a hit single and shopped Last April, UK’s Mojo magazine named the it to Dennon. As soon as it came out on Jerdon, Kingsmen’s “Louie Louie” #1 on the list of Th e 100 Ken was out of the picture, and then when Dennon Singles You Must Own. made the deal with Wand they froze him out.” Ahead of all the hits by Elvis, Elton, or even Th e Oregon Historical Society and BMI hon- the Fab Four. ored Ken Chase and the band with a plaque at the So…the individual that produced “Louie recording location in 1993. Louie” would be an important fi gure in record Mitchell says he’s hanging on to his “Louie business history, right? Louie” gold. “Maybe someday it’ll put my kids “Th e Kingsmen’s exalted position in this list through college.” only serves to emphasize pop’s glorious democ- racy: the hand of inspiration can land on anyone’s Meanwhile, some poor sucker on eBay paid shoulder at any time, anywhere.” $7,700 for what he thought was the producer’s gold In this case, it landed in Portland, not record for the biggest rock-n-roll single ever. Seattle. Like buying a bogus Hitchcock Oscar…

December 2003 on the auction site eBay; NNN “Welcome to an AUCTION by JERDON RECORDS.” THE BIGGEST STORIES OF 2003 “Th is AUCTION LOT consists of: the original GOLD RECORD AWARD that was presented PORTLAND BAND to Jerry Dennon back around 1964 to mark the OPENS GREAT WHITE FIRE one-millionth sale of the single “Louie Louie,” as (February) Michael Shapiro of Trip had just recorded by Th e KINGSMEN. One of perhaps a come off stage and was relaxing in the bus when mere half-dozen or so that were ever made, this he heard the screams and breaking glass coming rarity is the fi rst one known to have ever surfaced from the Station nightclub in West Warwick, Rhode and hit the open marketplace. Dennon was the Island. Bass player Jason Williams was inside the Seattle-based music executive who produced the club when Great White started their set. About 30 recording in mid-1963, initially issued it on his seconds into the fi rst song the drummer stopped own Jerden Records label, and then negotiated a playing and Williams saw fl ames climbing the distribution deal with the larger New York-based, wall. “It seemed so minor in the beginning,” he Wand Records.” told the Oregonian. People began heading to the exits, orderly at fi rst. But the fl ames exploded, the “…the Seattle-based music executive who lights went out and a wall of superheated black produced the recording...” smoke cascaded through the club. Within seconds, a panic-stricken mob was crashing toward the three Kingsmen call bullshit…. exits, many of them piling up at the front door. 100 Sandin Wilson; a one man jazz revival.

Page 16 - TWO LOUIES, January 2004 people died in the fi re. Great White’s tour manager death.” Th e LAPD will continue its investigation. Dan Biechele and two club owners were indicted “…two penetrating stab wounds…” on 200 counts of involuntary manslaughter. CHURCH OF NORTHWEST MUSIC DANDY WARHOLS CANCELLED MAKE RS TOP 50 FOR ’03 (May) Crazy 8’s manager Marc Baker became (December) Th e Dandy Warhols capped a the preacher of the Church of Northwest Music busy year with the selection of “Welcome To Th e radio program in 1991. The northwest music Monkey House” by Rolling Stone as one of the 50 show on KBOO started in the 70’s when rocker Best albums of 2003. “Th e Dandy Warhols previous Ronnie Noize convinced the public radio station two albums had genius singles, but their fourth is to champion local original music. Rhonda Ken- a continuously bouncy blast. Co-producer Nick nedy and Fiona Martin joined KBOO in the 80’s Rhodes of Duran Duran spreads sonic mousse and hosted the program till Marc took over in ’91. over the band’s spiky guitars, thickening and detail- During his run at KBOO Marc featured exclusive ing the arrangements and teasing out the hooks. and early live performances from Everclear, Kelly Bonus appearances by Chic’s Nile Rodgers, Simon Joe Phelps, John Fahey, Pink Martini and dozens LaBon and, um, Parker Posey.” Back home aft er of other acts. Baker estimates that in his 13 years touring Europe with David Bowie the Warhols 1,000 local artists had their music played on the spent the holidays putting the fi nishing touches on Church. Th e last show aired May 14th. the Portland Odditorium performance space and gearing up to monkey around in Australia and New KISS MAKES Zealand this month. TOMMY THAYER THE SPACEMAN (April) Better than the Rock Star movie plot. EXPLODING HEARTS VAN CRASH KILLS 3 Tommy Th ayer fi rst attracted attention as a hot (July) Driving home from their first gig young guitarist in the 80’s Portland club band outside the northwest, the Exploding Hearts’ van Movie Star. His next group, Black-n-Blue got a rolled over in southern Oregon, killing three of the deal with Geff en and attracted the attention of four members of the group. Th e band was returning Kiss bass commander Gene Simmons. Simmons from a show in San Francisco where they had been produced 2 more albums for Black-n-Blue and off ered a record deal from the punk label Lookout eventually convinced Tommy to join the Kiss Records, the imprint that broke Green Day. Killed organization as a producer and guitar tech. In a in the crash were vocalist Adam Cox, drummer Las Vegas un-veiling last April, Tommy put on Jeremy Gage and bassist Mathew Fitzgerald. the Spaceman makeup and offi cially replaced Ace Guitarist Terry Six suff ered only minor injuries. Frehey as lead guitarist of Kiss. He also produced Th e Hearts were just beginning to break nationally, and performed in the Kiss/Melbourne Symphony having generated interest from several major labels Pay per view event and DVD. Th at’s why he makes as a result of college airplay on their 2003 release the big bucks… “Guitar Romantic”. EVERCLEAR BREAKS UP ELLIOTT SMITH MYSTERY (August) Aft er a decade of hit singles, plati- (December) Th e circumstances surround- num albums and golden tour reviews the band ing Elliott Smith’s death two months ago are in Everclear seems to have run its course. At the last question. According to an LA County Coroner gig of the Slowmotion Daydream tour in Alaska Art spokesperson the findings were “inconclusive Alexakis announced from the stage “this would be as to whether the two penetrating stab wounds the last time” an audience would ever see the band. that killed him were self-infl icted or the result of He should know, he’s gone solo before. Can Art foul play.” “Despite a comprehensive and ongoing make the transition to successful solo artist without inquiry into the death by the LAPD detectives and the plays-like-a-train rhythm section of bassist coroner investigators together with a thorough Craig Montoya and drummer Greg Eklund? Let’s examination by the coroner’s pathologist, the mode see, has he ever had a hit without ‘em? photo Buko of death remains ‘undetermined’ due to incomplete Sandin Wilson; a one man jazz revival. knowledge of the circumstances surrounding the Continued on page 23

TWO LOUIES, January 2004 - Page 17 amp w/4-12” cabinet, Big muff II Distortion Pedal, MXR distortion pedal, Digitech “talker” voice-synth pedal. Falcon Recording Studios Clients include: Dfi ve9, Hell Candi- dates, Jen Lane of Barfl y Magazine, Til- lamook County Fair in association with Starshine Sound, Rorschach Test, Stage Phryte, Th e Natrons, Witch Mountain Continued from page 18 and many other locals. Other: Bill Cushman is House Engineer Soundtrack, 30.06, Eric Mathews, at Club Satyricon and he invites you Pond, Adam Wade, Scribble, Slackjaw, to come in and say hello. As owner of The leader of Rock, Jazz, Funk, Big Band and Suplex, Woke Up Falling, Avenue of Th e Intersect Sound, he guarantees reason- Classical recording in Portland, Oregon since 1981. Strongest, Pedro Luz, Andi Camp, Jen able rates, professional service and well Wood, Trophy Wife, Gruesome Galore, maintained gear—delivered, operational Tommy Tutone, Everclear, Audio and on time! 503-236-3856 Learning Center, Mel, Petal, Intifada, www.FalconRecordingStudios.com Flophouse Palace, Loligo, Th e Reports, Interlace Audio Production Th e Kremlin Bronx. 457 NE Birchwood Dr. Hillsboro, OR 97124 Intersect Sound, Inc. 503-681-7619 Portland, Oregon Email: [email protected] 503-649-7741 Website: http://www.interlaceaudio. E-mail: [email protected] comOwner: Bob Crummett Web: www.geocities.com/intersect- Contact: Kris Crummett sound Engineers: Bob Crummett and Kris Owner/Engineer: Bill M. Cushman Crummett Intersect Sound Inc. specializes in PA Rates: $25 an hour. System Rentals for festivals, small bars Tracks: 64+ track Protools, 16 track & clubs, civic functions, church & com- adats, 2 track Dat. munity events, private parties & dances, Equipment: Digidesign Protools HD1, & DJ shows. ISI also provides live sound Alesis Adat XT, Alesis Adat XT20, Sony production, recording and mastering PCM-R300 Dat, Mackie 24/8 Console, with post-production and studio work. Mackie HR824 Monitors, ART Pro Sound Engineers are available. VLA Tube Leveling Amp, ART Tube Rates: PA System rentals go out as a MP, ART Quadra/FX, ART 355 Dual unit, engineer included—see website or, 31 band EQ, Avalon U5 DI, Deltalabs contact [email protected] or AcoustiComputer, Hughes & Kettner phone 503.649-7741 anytime for voice Tubeman DI, Line 6 Bass POD, Preson- mail. Or between 1:00 pm and 6.30 p.m. ous Digimax, Various Stompboxes, to speak to a person. Waves Gold (all), Bombfactory (all), For Live Sound recording: 1-2 Alesis McDSP (all), Anteres Autotune, Digi- Adats are available. Th e tracks are then Design RTAS (all), GRM Tools (all), mixed down and mastered to DAT. Th e Metric Halo Channelstrip, Duy (all), turnaround time is usually two weeks T-Racks, Focusrite RTAS (all), Kind of and the cost starts at $200.00 for the Loud Realverb, Raygun, Serato Pitch whole package. I also do studio work and Time and more. (subject to availability) at the rate of Mics: AKG D112, AKG D12E, Audio $20.00 per hour. Technica 4033sm, Audix D1, Audix D2 Equipment: For PA System Rentals: For (2), Audix D4, ElectroVoice 627b, Elec- example PA system “A” consists of the troVoice N/d 767a, Groove Tube 6tm following: Console: Soundcraft Spirit (tube mic), Modifi ed Large Condensor 16x4: Signal processing: Yamaha Rev-7, Mic (2), Shure SM57(3), Shure Uni- Midiverb 3, BBE sonic maximizer 322, sphere PE56D-CN, Superlux CM-H8D Aphex aural exiter type B, 2 Alesis 3630 (tube mic). dual compressor/gates, JBl m644 4 Instruments: Tama Starclassic Per- channel gate, DBX 1231 dual 31 band former Drumset, Roland TD-7KE 1/3rd octave eq, 2 Alesis Meq 230 dual Electronic Drumset, Various Percus- 31 band octave eq, Fender pcn-4 stereo sion (congas, bongos, and whatnot), 3 way cross-over. Speakers: 2 JBL active Musicman Stingray Bass, Alesis QS6 mid-hi packs, (l 15” & 1 2”: driver with Keyboard, Rhodes Mark II 73, Marshall 1” horn each) 2 JBL active subs, (2 15’s, Lead 12, ART 80/80 Head, Marshall front fi ring & ported each), 4 fl oor JCM 900 4x12 Cabinet, Crown Acoustic wedge monitors, (1 15” & 1 2” driver 12 String, Gilbert Baby Grand Piano. with 1” horn each), 1 Yamaha drum fi ll, Clients: Sarah Blaisedale, Cascade Blues (1 15” & 1 “ driver with 2” CD horn), Association, Crosstide, Delivery, John Microphones: 4 Shure sm 58, 6 Shure Densmore, Doyal Tankington, Laura sm57, 4 Audio technica pro 10, 1 Audio Duzette, Bryan Free, Jeff erson Institute, technica pro 25, 1 Shure beta 58. Amps Kinzel & Hyde, Christopher Marshall, used include: Crest, Crown, Yamaha, Wayne Meichsner, Mindset, Mute, SLM-RMA series & Yorkville AP series. Mykel, Nice Richard, Tom Noeson, (depending on system confi guration Oliver, Postal, Random Electronica, and power demands) Miscellaneous: Regenerator, Saturday Night Jazz Band, 4 ISI di boxes 1, Lawrence accoustic Screamin Willies Dixieland Band, Stela, guitar pickup, Fender m-80 pro guitar West of Zero, and more.

Page 18 - TWO LOUIES, January 2004 Jackpot! Recording Studio Services: CD Mastering, CD Replication 1925 SE Morrison & short runs, graphic design, editing, Portland, OR 97293 etc… (503) 239-5389 Specialties: CD Mastering/CD Replica- [email protected] tion/Short-Run CDs www.tapeop.com Engineer: Kevin Nettleingham Owner: Larry Crane Tracks: 128 Track Digital Hard Disk Rates: $60.00 per hour / 100 CDs - $225 J.A.S. Recording / 1,000 CDs - $1,180 P.O. Box 884 Equipment: Digital Audio Workstation: Beaverton, OR 97075 Digidesign Pro Tools | HD3 24 bit & (503) 274-2833 sample rates up to 192kHz, Software Owner: Andy Strike Version: 6.2.2, Audio Hard Drives: 306 gigabytes, Computer: Macintosh G4 800 w/dual monitors (cinema display and KAOS Recording, Mastering & CDR 20” VGA), RAM.: 1,256 megabytes Duplication AD/DA: Cranesong: HEDD (Har- Portland, OR monically Enhanced Digital Device) (503) 287-5066 24 bit AD/DA converter, Digidesign: Owner: John Belluzz 888/24 24 bit AD/DA converter, Waves: L2 Ultramaximizer 24 bit AD/DA Lemon Studios and Walter Midi converter www.lemonstudios.com Analog Processing: GML 8200 Paramet- 1424 SE 162 Portland OR 97233 ric Equalizer, (503) 761-0964 Crane Song: STC-8 Discreet Class A Jon Lemon - Owner and Chief Engineer Compressor Limiter, Empirical Labs 2 x Email: [email protected] Distressors with British Mod, Mic Pre- Setup: 2200 square feet of top-of-the- amps: Cranesong: Flamingo 2 channel line mics, preamps, keyboards and other Discreet Class A mic pre, Focusrite; Red musical goodies. Featuring Pro Tools One 4 channel mic pre, Summit; TPA- HD and a 1996 Steinway Model B 7’ 200A Dual Tube mic pre, Night Pro; grand piano. Please call for rate and any PreQ3 4 Channel mic other info. Digital Processing: Cedar: De-clicker, Recording and Mixing: Pro Tools HD; De-crackler, De-hisser, De-buzzer, Alot of Adats; Yamaha O2R digital Waves: L2 Ultramaximizer, Platinum mixer Bundle, DigiDesign; ReverbOne, Serato; A Few Preamp: Manley VoxBox; (6) Pitch-n-Time, Antares: Autotune, Line Manley dual mono mic pres; Manley 6: AmpFarm Digital Routing: Z-Sys- El-Op leveling amp; (2) Drawmer 1960 tems: 16x16 AES Digital Detangler Pro pre/compressors; Langevin dual vocal Syncronization: Aardvark: AardSync II, combo Sync DA A Few Keyboards: Steinway Model B Data Back-up: Exabyte: EXB-8700LT 7’ grand piano; Hammond B3 with 8mm Leslie 122; Fender Rhodes suitcase CD Recorder: Plextor 8/2/20 piano; Korg Triton, Triton rack, Trinity, Monitors: Meyer Sound HD-1 High MS2000R, etc.; Roland 5080, 1080 JP- Definition Audio Monitors 8000, etc.; Quite a few others including Metering: Waves: PAZ Pscychoacoustic Nord Lead and E-mu Virtuoso 2000 Analyzer Some recent clients: UNIVERSAL and 2 Track Players/Recorders: Tascam: DA- 2WAY RECORDS recording Artists 45HR-24 Bit DAT, DA-30 MKII DAT, Sassey and Ghetto Romeo; Johnny & CDR2000 – CD Recorder/Rewriter Limbo and the Lugnuts; The Stragglers; - Nakamichi MR-2 Cassette, Vestax: Brenda Baker; Duelin’ Sopranos; Bas- BDT-2500 Turntable soon Bros; Cool Nutz and Jus’ Family Microphones: Soundelux: 2 x U95S Records; Hog Whitman; Sawtooth - Microtech Gefell: UMT 70S -, Royer: 2 Mountain Boys; Jeff Hudis (Hudis x R-21 - Neumann: 2 x KM-184 - AKG: James); Madgesdiq; Carolyn Kardinal; D12e , Sennheiser: 3 x 421, 441 - ADK: WE Side Records; Kant Be Caught; DJ 2 x A51s - Shure: 2 x SM-57, SM-7 OG One Productions; Kathy Walker A Few Of My Clients: Oregon Sym- Band; D-Five-9 phony • Obo Addy • Deep Elm Records • Alfredo Muro • Lew Jones • Bart Lion’s Roehr Studio Ferguson • Norman Sylvester • Paisley 5613 S.E. 69th Pop Records • The Mel Brown Quartet • Portland, OR 97206 The Divided • Desert City Soundtrack • (503) 771-8384 Randy Porter • Bobby Torres • Slackjaw Email: [email protected] • Duffy Bishop • Trophy Wife • Mt. Owner: Mike Roehr Hood Jazz Band • Assisted Living • 31 Knots • Starter Kit • The Jimmies Nettleingham Audio • Woke Up Falling • Johnny Martin • 888-261-5086 / 360-696-5999 DFiVE9 • Gruesome Galore • Catholic Vancouver, WA School Girls • 5 Guys Named Moe • 44 (just minutes from downtown PDX) Long • The Martindales • The Cow Trip- Internet: http://www.nettleinghamau- pers • Thy Infernal • Renato Caranto • dio.com The Bassoon Brothers & a lot more! Email: [email protected] Continued on page 20

TWO LOUIES, January 2004 - Page 19 Northstar Recording 13716 S.E. Ramona Portland, OR 97236 (503) 760-7777 Fax: (503) 760-4342 Owners: Scott James Hybl, Curt Cass- ingham

On Site Audio Continued from page 19 A Diamond “Z” Records Company 16016 Lower Boones Ferry Road, Suite 5 No Moving Parts Lake Oswego, Oregon 97035 S.E. Portland (near Laurelhurst) (503) 675-1670 (503) 234-6410 (503) 635-7335 Fax# Web: www.nomovingparts.com Email: [email protected] Owners: Mark/Michele Kaeder Contact: Steve Landsberg Engineer/Producers: Mark Kaeder Tracks: 32 I/O Harddisk Recording Equipment: Recording: Yamaha O1V Opal Studio 6219 S.E. Powell Digital Mixer, Logic Audio Platinum Portland, OR. 97206 HDR soft ware (running on a 1.0 GHz 503-774-4310 Intel PIII with 512 megs of ram and 503-777-5214 fax For all your Printing and Design needs 80 gigs of storage), Dual Creamw@re Email: [email protected] Pulsar 96/24 DSP, Synthesis/Mixing Web: www.opal-studio.com platform (too many other audio pro- Owner: Kevin Hahn grams to list) , Outboard: True Systems Engineer/Producers: Kevin Hahn, Vince ‘Precision 8’ eight channel mic preamp, Tognetti, Chris Stevens. Lexicon MPX-1 multieff ects processer, Rates: $40/hour, block $35/hour, project ART Pro MPA tube mic pre, ART Pro $30/hour. VLA optical tube compressor, DBX Equipment: Yamaha O2R digital 1066 stereo compressor/limiter/gate, mixing console, Tascam TM-D1000 503/282-1682 DBX Quantum Mastering Compressor, digital mixer, 32 tracks of Alesis Otari MTR-12 1/4” Mastering Deck. www.buko.net HD24 & XT20, Panasonic SV3800 Monitors: Sundholm V8’s, Mackie dat recorder,Tascam DA-30, Alesis HR824 reference monitors, Yamaha Masterlink, Tascam 302 dual cass. deck CD COVERS • POSTERS • PROMO PHOTOS NS-10 reference monitors. Synthesis: Marantz 615 CD recorder, Marantz Roland XP-80 MIDI workstation , Enso- PDM 320 CD player, Microboards BROCHURES •LOGOS • BACKDROPS • LIVE PHOTOS niq ASR-X sampler, Alesis D-4 MIDI StartREC 400multiple CD recorder, drums. Condenser mics: Soundeluxe Manley U5,Focusrite R8 dual mic U-95 multipattern tube mic, Rode preamps, Drawmer 1960 dual tube mic NT-2 , Rode NT-1 (2), Audio Technica preamps/compressors, TLA PA-5001 ,ATM35, AT-851a, AT-4041(2). Cardiod quad tube mic preamps, Joe meek VC3 Dynamics: EV PL-10, Shure Beta 52, (2) mic preamp/compressors, ART PRO E.V. ND-868, ND-367 , Peavey PVM22 MPA dual tube mic preamps, Eventide (2) , Cad 22 (2), Shure SM-57 (2). H3000 eff ects, Lexicon LXP-15 eff ects, Misc: Sony Spressa 24x CD Writer. Yamaha SPX-90 eff ects, Yamaha O2R AKG and SONY headphones, Furman (2) eff ects, Aphex Compellor, Symetrix Distributed Headphone system , Gal- 425 compressors Yamaha GC2020B lien-Krueger 800RB bass amp with compressors, Yamaha O2R dynamics Eden 4x10 cabinet, Conn Strobotuner, processors Drawmer MX30 compres- Marshall JCM-2000 guitar amp. sor/limiter/gate, Vesta Koza digital Notes: No Moving Parts is a comfort- delay, Aphex aural exciter... able, low cost recording environment Monitors: Sundholm SL8.0 monitors (2 with a friendly and knowledgeable staff . pairs), Genelec 1029A w/sub monitors Providing exceptional sound quality Yamaha NS-10 monitors, Auratone with the kind of speed and fl exibility monitors Hafl er P4000, P3000 power that only hard drive recording can amps provide. Perfect for inexpensive, great Microphones: Neumann U87 (2), Audio sounding demos or for budgeting the Technica 4033, 4050, 4051 AKG 414 kind of time it takes to complete a fully B-ULS mic, AKG D112 (2) mics ADK produced fi nal product. Check out our tube, Audix D1, D2, D3 (2), OM5 Shure website at www.nomovingparts.com for 57 (4), 58, EV ND757a more info. Others: Sonar XL, Steinberg Wave lab Clients: Recently - Nojeem Lassisi and 3.0, , M Audio 1010 24/96k, Roland Jujuba, Peer Pressure XV3080,Roland 303 groovebox, Alesis Productions, Day Pass, Emberghost, D4, Ensoniq TS-12 keyboard, Fender American Barricade, Erotic Strat, 5-string bass, Tele custom, Gibson Politicans, Th e Blues Broads, Hydro- Les Paul, mandolin, Marshall, Fender ponic, Morse Code Heartbeat, Divine Deville, Line 6 POD, Mesa Boogie V-2, Noise Asylum, Patrick King, Naked Crate. Todd, Step Beyond Deception, Lipid, Clients: Kerosene Dream, Jollymon, Spindrift , Kaddisfl y, Fusion Ball, Whis- Stephanie Schniederman, Deen Cas- key Sinner, Chapter’s End, tronova, Mad Hattie, Th e Red Sector, Redline6, Hot Boxed Triple Double, Shrapnel Records, Shortwave Records, Albert Reda, Ennis in Th eory....

Page 20 - TWO LOUIES, January 2004 Private Studio Recording & Mastering Engineer: Gavin Pursinger hardware. Sony, Mackie HR824s and Auratones, 420 SW Washington St. Tracks: 16tk 2” 15/30 ips. Instruments: grand piano, Hammond JBL Eon rehearsal PA, Neutrik TT patch Portland Oregon 97204 2tk 1/2” 15/30 ips. 2tk 1/4” 15/7.5/3.75 CV & Leslie, Fender Rhodes 88 stereo, bay, Mogami, Monster and Apogee 503-407-2521 Mono Tube 15/7.5 Fender Telecaster bass, Gibson melody cables. See web site for complete list. www.psrecordings.com Rates: $40/hr or 10 hr block for $300 (in maker (P90s), Yamaha acoustic 12 Software: Cubase SX 2.01, WaveLab Contact: Timothy Stollenwerk advance + plus tape costs) string, dual showman cabinet, Sunn 4.01, Diamond Cut DC5 restoration, Specializing in 24bit CD audio mas- Recorders: Scully 288-16 (2” 16tk), 2000s, Sunn 1200s, Sunn 100s, Ampex plugins from Antares, Bias, Steinberg, tering and post-production, which Ampex AG440B (1/2” 2tk), Studer A700 jet J-12. Native Instruments, iZotope, Acuma includes original sound design for (1/4” 2tk), Scully 280 1/4” 2tk, Ampex Clients: Ray Charles, Chubby Checker, Labs. theater and film, field recordings, and 351-C (mono tube 1/4”), Panasonic SV Al Rivers III & The Ink Spots, Ike Pentium 4 2.5 GHz/1 Gb RAM, Win much more. 3700DAT, Digital Audio Labs Hard Disk Willis Band, War, Edwin Starr, Howard XPpro, Lynx L22 audio I/O, Steinberg Rates by the hour or by the “audio Editor, Phillips CD Burner, Pioneer 3 Roberts & Mel Brown, The Weevils Midex8 MIDI interface, removable minute”. Satisfaction guaranteed. head cassette (+4 converted). w/Billy Hagen & Dave Gill, Blake Wood, firewire drive, Sony DVD+/-RW, Bravo Equipment: Sound Forge and Vegas Monitors: Large JBL Alnico 15”/2”/Elip- Kathleen Riley, James Robbins Band, CD publisher. video 24bit DAW, PSP Vintage Warmer, tical ring system in factory cabinets Cross Country, Diamond Eye, Kevin Instruments: Roland RD700 weighted PSP Mix Pack, Waves L2 Ultramaxi- Biamped and TUBE driven. Near fields Collins, The Bluesters, The Rockfords, 88 key controller, Steinberg The Grand mizer, Lexicon PSP42, Ozone Master- are JBL L26(tube driven). Headphones Robert Brown, Rob Ohearn, Miss VSTi piano, Native Instruments B4 ing, Yamaha O1V, Frontier Design have 4 separate mixes. Console: Sunn Red Flowers, Plesure Seekers, Planet VSTi organ, LynPlug Cronox sampler, 24bit 10channel Wavecenter, Apogee SPL 3424 & 4424 well tied for 56 inputs. Quarantine, Kind & Loving Spiders, hardware synths from Roland, E-mu, 1000 AD/DA, POW-r dither, Digitech L & R main buss is now tube.. Triode Undercover Records, Cravedog, Fer- Korg, Kawai. Lots of guitars, amps, TSR24S, Fostex E2 1/4” analog with connected 807s fully regulated & nando (Luther Russel on keys), June & effects and percussion toys. time code, Earthworks Sigma 6.2 refer- transformer coupled. This is the heart Joey, Vintage Flashback, Band of Andys, Notes: Established in 1990, recently ence monitors, Sony DTCA7 DAT, and of our vacuum tube console-now under Strawberry,Orange Collection, Lamuri- relocated from Santa Cruz, CA, Reyn- a few A/V rated Ultra Wide SCSI hard construction. ans, In Cell, Sleepover, Producer Mike olds Audio Production offers music drives for optimal performance. Tube Equipment: “Thor”broadcast tube Mason, Brownell Sound & Bluegrass production, recording, mixing, editing, Clients include: Beta-Lactam Ring pre, Altec Lansing 220A tube mixer ( on the Green, Lisa Miller & the Trailer mastering, audio restoration, compos- Records, Alien Eight Recordings, 4X1),TL Audio Stereo Tube Compres- Park Honeys,Alison Music, King Darl, ing and sound design, studio and live Ground Fault Recordings, Alluvial sor, TL Audio Stereo Tube Parametric The Haunted Church, Shirley Sanders freelance mixing, consultation, system Recordings, Touch, Generator Record- (these are fed single ended thru 40 yr Live, Yesterdaze Child, Live cable show design and private instruction for guitar ings, Egg Shell Productions, Sowelu old 600-10k transformers when used in “Wing It” with Lynn Conover & Susan- and audio engineering. Theater, Chel White Films, Dub Plate mastering), RCT Tube 4x8 Stereo Plate nah Weaver, audio for TV of Hillsboro The new Cool Blue Studio offers a Tectonics, Soleilmoon, Subterfuge Reverb, Presto 40B (regulated) mic pre, Symphony Orchestra. Pickathon 1999, relaxed and comfortable environment, Recordings, Banned Productions, RCT stereo tube line amp (6L6GCs), 2000, 2001. What can “glow in the dark” conducive to creativity and productivity. Reverb Records. KGW Line Amp, RCT stereo tube mic/ do for you. John Reynolds has mixed concert line pre (5879s&6L6GCs), RCT tube sound for Ray Charles, Shawn Colvin, R Studio mic pre (5879&6L6GC), RCT stereo dif- Reynolds Audio Production Etta James, Stephane Grappelli, James (503) 285-9168 ferential limiter (6SN7GTAs), 2 Bogen / Cool Blue Studio Brown, Keb Mo, Charles Brown, Gladys Owner: Gregg Whitehead Tube mixers 5ch (EF86s), RCT stereo SW Portland (call or email for direc- Knight and many other legendary tube DI (12AT7x). RCT TUBE GEAR tions) artists. Rainbow Recording HAS SEPARATE POWER SUPPLIES (503) 892-6268 John has provided quality assurance 6614 S.W. Garden Home Rd. AND DC HEATERS. E-mail: [email protected] consultation and sound design services Portland, OR 97223 Effects: RCT Tube Stereo Plate, AKG Web: www.reynoldsaudio.com for Summit Audio, E-mu Systems, (503) 246-5576 BX 10 Rev, Alesis & Lexicon revs, Contact: John Reynolds Antares Audio Technologies and Email: [email protected] Orban Optic Compressor, Behringer Equipment: Mackie Digital Eight Bus Mackie Designs. Owner: Galen Hegna Composer, 2 Tapco +4 stereo graphic console with Massenburg EQ, Antares Clients: Pele Juju, ZunZun, Scott Fisher, EQs, Audio Logic Quad Gates (VCA), AutoTune and TC Electronic reverb. Bossa Nouveau, Stanford University, 2 Scully 280 mic pres, Ampex 440C Mackie HDR 24/96 Pro 24 track, 24 Julia Korena, Dan Sisco, Times Square, Recording Associates mic/line pre, 5 Digital Delays, 12 ch Jolly Mukherjee, Cabrillo Stage, Opafire, 5821 S.E. Powell Blvd. bit recorder with Digidesign Pro Tools patchable DBX 180 noise reduction. Ukulele Dick, Rory Koshlaychuk, Chu- Portland, OR 97206 file exchange. Apogee PSX 100 A/D/A Mics: AKG “The Tube”, 451 (2), D-12, Chumbe, David Winters, Production (503) 777-4621 converters, Aardvark Aardsync II 330BT (4),D-224E, Electrovoice RE27, Logic, Villa Montalvo. See web site for Email: [email protected] Word Clock distribution, Amek/Neve, RE20, RE 16 (2), DS 35 (2), 665, 1777A Avalon, DBX Blue Series, Lexicon, client quotes. (2), RE 50, Rode NT2, Studio Logic TC Electronic, Alesis MasterLink, Red Carpet Treatment C3, Sennheiser 421, Shure 55S, 56 Aloha, Oregon Symetrix, Line 6, Yamaha, Behringer, (2), 58, PE50SP. Helpinstill magnetic BBE, Neumann, AKG, Audio Technica, (503) 848-5824 piano pickup. Large adequate stands & Owners: Gavin & Wendy Pursinger Royer, Audix, Electro-Voice, Shure, Continued on page 22

TWO LOUIES, January 2004 - Page 21 Rom Authoring. auto locator. Compeller, 2-JBL 7110’s, 2-Symetrix Owner: Dan Decker Mastering Decks: Otari MTR-12 II, CL-501’s, 2-Symetrix CL-100 , Symetrix Engineers and Personnel: Dan Decker: Tascam 52, Panasonic SV-3700 DAT’s. CL-150, 2-Symetrix 544 Quad Gates, Engineer / Producer, Nick Kellogg / Panasonic SV-3500 DAT, Yamaha CD-R Aphex 612 Stereo Gates. Engineer / Producer, Rick Duncan: writer Instruments: Yamaha C-3 6 foot grand Engineer, Wayne Th ompson: Pro- Noise Reduction: Dolby 363 SR/ A piano, Yamaha DX7, Yamaha DX7 II, grammer / Engineer, Delandra Clark 2-Channels, Dolby XP 24-Channels SR, Ensoniq ASR10, Fender P-Bass, Fender Scheduling / Artist Management, Digidesign D.I.W.R. Digital Audio Jazz Bass, Fender Telecaster, Kramer Continued from page 21 independent engineers are welcome. Digital Workstations: 3 Digital Per- DMZ-5000 Fretless Bass, Gibson J-40 Rex Recording Assistant Engineers: Jim Lechocki, former workstations with 2408, 2408II, acoustic, Rickenbacher 5001 Stereo 1931 S.E. Morrison Justin Swanson, Tony Crepps 1224, MIDI Time Piece, and MIDI Bass, Ampeg B-15 Bass amp, Fender Portland, OR 97214 Direction: Sound Impressions has been Time Piece AV interfaces, Apogee Sidekick amp. Oberheim Matrix 6R, (503) 238-4525 serving the Northwest with qual- AD Rossetta Converter, Pro-Tools III Korg DW-8000, Sequential Drum- Web: www.rexpost.com ity audio services since 1983. Audio 16 Track Power Mix (on the AVID trax, 2-Alesis D-4 Drum Modules, Owner: Sunny Day Productions, Inc. projects range from local demos to workstation). Korg M3R, EMU Proteus, Oberheim national albums in all styles of music. Synchronizers: 4 Adams-Smith Zeta Matrix 1000, Kawi K1, Korg Polly 800, River Recording Our new facility located two blocks Th ree’s. Roland 2080, Akai S2000 Sampler, Milwaukie, OR from the Rose Garden arena houses two Outboard Signal Processors: Lexicon: Roland JV1010, Fender Rhodes Piano, (503) 659-5760 large audio studios and a video editing 480L, 2-Lexicon PCM-70’s, 2- Lexicon Whurlitzer Piano, large sampling library Owner: Steve Parker suite. Call to set up an appointment. We LXP-1’s, Lexicon PCM-41, 2-Yamaha of loops and sounds. would be happy to show you our studios REV-7’s, Yamaha SPX-90, Alesis Microphones: AKG Th e Tube, AKG and discuss how Sound Impressions Multiverb, Ibanez SDR-1000, Even- 414’s, Neuman U-87, Neuman KM- Sound Goods can assist moving your musical career tide H-3000 Ultra Harmonizer, ADA 140’s,EV-RE20, AKG 330’s, 320’s, 451’s, Beaverton/Aloha, Oregon forward to the next level. Pitchtrack, Roland SDE-3000, Deltalab 460’s, D-12’s, D112. Audio Technica (503) 690-6864 Mixing Consoles: Studio A: DDA AMR- 64 Delay, Deltalab 1064 Delay, Audio ATM-63’s, Tascam PE-250’s, Sony Web: http://www.soundgoods.com 24, 60 inputs with Uptown moving Design Delay. Orban 672A 8 band full Condensers, American and Shure Rib- Owner/Engineer/Producer: Joshua fader automation, 24 buss split console parametric EQ, Orban 622B four band bons, Shure SM-57’s, Sennheiser 421’s, Slamp design. 36 channel master section and stereo full parametric, NIH PE-30 four & more!Monitors and Amplifi cation: 24 channel monitor section with EQ. band full parametric, UREI A522 1/3 UREI 813’s, KRK 7000’s, Yamaha NS10’s Sound Impressions, Inc. Switchable plasma metering. Studio B: octave graphic. Focusright Mic Pre’s, TL with matching sub wolf, Auratone 1920 N. Vancouver Yamaha 02R digital mixing console: 40 Audio Stereo Mic Preamplifi er, Aphex 5-C, Ramsa, Crown, Yamaha,and QSC Portland, OR 97227 inputs with dynamics and parametric Type II Aural Exciter, Aphex Type B Amplifi cation. (503) 287-3975 Fax: 249-5021 EQ. Studio C: Yamaha 01V Digital Aural Exciter, 2-dbx 263X de-esser’s, Clients and Projects: Subpop Records, Email: [email protected] Mixing ConsoleMulti-Track Recorders: B.A.S.E. Spatial Processor, Crane Song Atlantic Records, Frontier Records, Web: www.sound-impressions.com Otari MX-80 2 inch 24-track with CB- STC-8 Stereo Compressor, Focusright Sony Records, Mercury Records, Other Services: Web Site Design, Video 120 locator for programmable punch-in Compounder Stereo Compressor, dbx Roadrunner Records, TK Records, Production & Duplication, and CD and punch-out. ADAT 24 tracks, BRC 122 Stereo Compressor, Aphex Stereo Carlson Records, MDR Records,

Page 22 - TWO LOUIES, January 2004 Rainbow Records, Schizophonic tion, Tektronix, NEC, Fujitsu, LPKF Processing: ART Dual MP tube mic Walnut Studios Records, Elemental Records, Th e Dandy USA, LPKF Germany and many more. pre, Kern IP-777 tube bass pre amp, (503) 312-9663 Warhols, Th e Freemartins, Scott Fisher, dbx 166A compressor/limiter, Mac G-3 Balanced Power, Equi=Tech ET1RSI-F. Smoochknob, Al Perez Band, Ashbury SuperDigital Ltd. with Digital Performer, MOTU 1224, Console, Mackie D8B, OS 3.0. Recorder, Park, Blake Sakamoto, Honey Ryder, 915 N.W. 19th Portland OR 97209 Lexicon MPX 100, Lexicon Alex, Peavy Otari RADAR II Hard Disk Recorder, David Lee, Disciples In Song, Jan Celt, 228-2222 Deltafex. OS 2.20. Mics/DI, AKG C 414 B-TLII Lonnie Turner, Washing Waldo Woo, Email: [email protected] Available Instruments: Allegra 6 piece (2), Groove Tube 1A (2), Sennheiser Signals, MOJO, Jackstraw, Fred Stickly, Web: www.superdigital.com drum set, Ludwig 5 piece drum set, MD-421 (2) , Shure SM-57 (4) , Shure Hardship, Jamie Hampton, Stark Raving Owner: Rick McMillen Roland XP-10 synth, Roland SDP-20 SM-58 (2) , AKG D112 , Shure Beta 52 , Mad, Super Friends, Dave Said Strike, percussion synth, Boss drum machine, Neumann M147 , Neumann KMS105 , Petal, In June, Jeff Cava, Shapeshift er, T-Bag Studio many guitar and bass amps, various SansAmp Bass Driver DI , AKG D12-E Adam Zwig, Jim Sluder, Lisa Polick, Address: 6925 N.E. Garfi eld Ave. Port- percussion items , Neumann KMS148 (2) Preampli- Jon Koonce and the Gas Hogs, Poison land, OR 97211 Microphones: se. Electronics 2000, fi cation, True Systems Precision 8 , Idea, Eric Mathews, Cardinal, American Phone: (503) 313-5521 GT AM-52 (2), Audio-Technica pro Focusrite ISA-110, Limited Edition , Girls, Swoon 23, Craig Carothers, Email: [email protected] 37r, Shure sm 58, Shure sm 57 (4), Focusrite Platinum Voicemaster (2) Heatmiser, Dan Reed, Monde La Bella, Contact: Talbott Guthrie for booking Sennheiser 421, Sennheiser e604 (3), , Mackie VLZ’s Processing, Mackie Southern Nights, Caveman Shoe Store, information AKG D112, AKG C1000. EFX – Reverb, Compression, Gating Pig Pen, Hearing Voices, Snowbud, Rates: $20.00 per hr. Clients: Five Fingers of Funk, Porter- , Apogee UV22 , Lexicon PCM 91 Dan Balmer, Brothers of the Balidi, Nu Block rates are available. I know many house, Silky, Organic Mechanic, Code- Reverb , Waves L2 Ultramaximizer , shooz, John Nilsen, Michael Harrison, musicians who can help write, arrange, breaker, Danny East, Th e Instigators, DBX 160A Analog Compressor (2) , Tall Jazz, Dub Squad, Gary Ogan, or produce, if you need it (for a little Invisible Doctors, Diego Salvadore, 7th EMU E4XT Ultra Sampler Monitors, Dub Debrie, Steve Christopherson, exta cost). Th e studio, control room, Seal, Joe Cunningham Mackie HR824’s Headphones, Sony Here Comes Everybody, Patrick Doro, and acoustic panels were designed by MDR-7506’s Media Format Options, Double Trouble, Cross Country, Power Rick Sullivan. Tonic Media CD-R, DAT, .mp3, .wma, Cassette Of 10, Marv Ross Rindy Ross, Land of Main Components: Mackie 32x8 PO Box 14062 Transfer Formats, TDIF, ADAT Opti- the Blind, Chode, Mel, Nancy Bright, recording console, Alesis HD24 24 track Portland Oregon, 97214 cal, Analog XLR and _” TRS Stereo Leroy Vinegar, Soular, OC192, Gypsy hard disc recorder, Alesis ADAT xt-20 (503) 236-2123 Transfer Formats, AES/EBU, S/PDIF, Caravan, Melt, JIVA, Victor Wooten, (2), Tascam DA-P1 DAT recorder, Event Email: [email protected] XLR,” Coaxial. Portland Trail Blazers, Portland Winter 20/20 monitors. Owner: Alan Alexander III Halks, Portland Songwriters Associa- LL

Continued from page 17 thethe hosthost andand inin George Touhouliotis’ venue, every MetroMetro every Tuesday night at the Candlelight OLCC BANS UNDERAGE PLAYERS musicalmusical genregenre waswas representedrepresented andand allall bagsbags werewere featuringfeaturing guitaristguitarist Jay Koder, Glenn Holstrom (January) After lowballing the AFM with welcome.welcome. FromFrom thethe establishedestablished artistartist toto thethe garagegarage onon keyskeys, Paul Mazzio on sax and Tim Bryson on promises of exemptions the OLCC passed regula- band’sband’s debutdebut performance,performance, everybodyeverybody gotgot theirtheir shotshot drums.drums. Sandin’sSandin’s newnew CDCD “Into“Into MyMy World”World” getsgets tions against entertainers (read: musicians) under atat tthehe SSatyricon.atyricon. pluggedplugged iinn tthehe JJanuaryanuary “Bassics”magazine and 21 appearing in places where liquor is sold. Seeing againagain inin FebruaryFebruary inin “Bass Player”…Mark Hanson the edict as a danger to the development of young PDX BASEMENT TAPES TOP CHART atat thethe KungKung FuFu BakeryBakery withwith engineerengineer BobBob StarkStark musical talent, the Northwest Branch of NARAS, (December) Newest local hero transplants the recordingrecording a nnewew ssoloolo fi nnger-styleger-style gguitaruitar CCD.D. KKOPB’sOPB’s (Grammies), held a series of meetings to discuss ShinsShins go to #1 on CMJ’s college radio chart with OregonOregon AArtbeatrtbeat covered Hanson’s annual Christmas the Oregon “movement”…(and make sure it anan albumalbum recordedrecorded inin singersinger James Mercer’s north GuitarGuitar SSummitummit concert at Lewis & Clark December didn’t spread to Seattle). Recently the OLCC had PortlandPortland crcrib,ib, “Chutes“Chutes TooToo Narrow”Narrow” onon SubSub PopPop 7th…7th…Dr Th eopolis debuts a new single “Digital a chance to relax the rule when re-submitting the waswas recordedrecorded inin a roughrough neighborhoodneighborhood sayssays Mercer,Mercer, City”City” at the Mt. Tabor Pub January 9th…Band regulations-but passed-choosing to stay with the “Th“Th ee bbasementasement iisn’tsn’t ppleasant,leasant, bbutut i tit o nonlyly c ocostst s isixtyxty RegistrationRegistration DeadlineDeadline for South By Southwest is hard-nosed attitude, giving Portland the reputation bucksbucks ttoo bbuyuy ddeadboltseadbolts fforor tthehe ddoors”…oors”… JanuaryJanuary 16th. Th e music conference takes place in as one of the most artistically repressive communi- Austin,Austin, TTexasexas MMarcharch 17-21…Chez Stadium’s CD ties on the national tour circuit. ReleaseRelease PartyParty forfor “Freshman“Freshman Slump”Slump” happeninghappening THIS JUST IN…Scott Fisher in Cali show- Saturday,Saturday, JJanuaryanuary 17th at the Green Room…Mer- WORLD FAMOUS ROCK CLUB CLOSES casingcasing inin HollywoodHollywood atat thethe HotelHotel Café,Café, JanuaryJanuary edithedith BBrooksrooks discovery Jasmine Ash at the White (May) Aft er twenty years of proving Port- 8thth…Geoff Bird still on his Sunset Blvd Buzz and EagleEagle Th urursday,sday, JJanuaryanuary 1515th and again Saturday, land is a world-class music town, the fabled club gearinggearing forfor a returnreturn nightnight atat thethe venerablevenerable WhiskyWhisky a JanuaryJanuary 3311st with the Little Sue Band…Man Of Satyricon closed the doors and scattered the GoGo GGo.o. GGeoffeoff ’’ss aatt BBerbatti’serbatti’s PPanan FFriday,riday, JJanuaryanuary 1166th Th ee YYearear and the Charmparticles at Club Ohm scene. Th is was the club where Chris Newman withwith Red Sector and Lea Krueger…Gavin Purs- Saturday,Saturday, JJanuaryanuary 10th…Courage, (a band with a and Napalm Beach gave birth to Grunge. Th is ingeringer at Red Carpet studios mixing KBOO’s Pick lotlot moremore talenttalent thanthan theirtheir promopromo wouldwould indicate)indicate) was where Courtney Love put the moves on Kurt A Th oonn summer festival held at Horning’s Hideout. hashas releasedreleased VolumeVolume 2 ofof Superhits and will play the Cobain and the Acts Th at Made Seattle Famous KurtKurt BBeversevers from Brownell Sound did the PA, TonicTonic LLoungeounge SSaturday,aturday, JJanuaryanuary 10th … played their first road gigs. Where Pearl Jam, “…and“…and wwee ppulledulled tthehe mmulti-trackulti-track ffromrom tthehe bboard”oard” Soundgarden and Mudhoney became a “sound” RedRed CCarpet’sarpet’s fi rstrst digitaldigital albumalbum forfor guitaristguitarist Billy opening for acts like Poison Idea, the Dharma HagenHagen was “mixed to half-inch at 30ips.”…Sandin Bums and the Obituaries. Th e heart of a club is WilsonWilson leading a one act Jazz scene revival with LL

TWO LOUIES, January 2004 - Page 23 Page 24 - TWO LOUIES, January 2004 TWO LOUIES, January 2004 - Page 25 progressionprogression in tthehe vverseserses aandnd a ccatchyatchy cchorushorus ttoo Sequel never made the transition to the big recommendrecommend IIt,t, a ttadad reminiscentreminiscent ofof earlyearly CheapCheap time,time, becausebecause theythey soundedsounded muchmuch tootoo derivative,derivative, TrickTrick maybe,maybe, asas wellwell asas anyany numbernumber ofof similarsimilar bandsbands withoutwithout a clearlyclearly defidefi nedned soundsound ofof theirtheir own.own. Th eeyy ofof thatthat timetime period.period. A keyboardkeyboard makesmakes anan unlikelyunlikely were,were, however,however, thethe perfectperfect clubclub bandband forfor thethe day.day. Continued from page 12 appearanceappearance inin thethe bridgebridge ofof “Pull Th e Trigger,” Th eeyy wwereere ggoodood llookingooking yyoungoung mmen,en, wwhoho ssangang bers have maintained low profi les in the nearly althoughalthough itsits presencepresence doesdoes littlelittle toto alteralter thethe musicalmusical aboutabout thethe sortsort ofof innocuousinnocuous interpersonalinterpersonal rela-rela- twenty years since the band’s breakup- operating moodmood ooff aadolescentdolescent hhedonismedonism tionshipstionships toto whichwhich theythey werewere constantlyconstantly exposedexposed well outside any sort of media scrutiny, with the “Th e Jealous Type” heads in a little bit diff er- in thatthat rarefirarefi eded atmosphereatmosphere in whichwhich theythey played.played. possible exception of guitarist, and band founder, entent sstylistictylistic ddirection-irection- mmoreore ttowardoward tthehe RRomanticsomantics’ AndAnd a largelarge portionportion ofof thethe publicpublic ateate itit up,up, forfor Greg Georgeson, who works with Tommy Tutone “TalkingTalking IInn YYourour SSleep,leep,” Greg Kihn’s “Jeopardy” or severalseveral yyears.ears. (another appropriate reference from the ‘80s). SteveSteve MMilleriller’s “Abracadabra,” with a sneaky guitar However, that was twenty years ago. All those Still, around 1995, Georgeson along with riffriff whichwhich seductivelyseductively slinksslinks throughthrough thethe verses-verses- fansfans areare now,now, atat least,least, in theirtheir forties.forties. Th iiss mmusicusic former members, drummer Grant Roholt and withwith ddecentecent rresults,esults, aalthoughlthough tthehe ttrackrack iiss a bbitit ooff a isis eevenven llessess ppertinentertinent nnowow tthanhan iitt wawass ttwowo ddecadesecades guitarist David Wall began performing as Sequel stretchstretch forfor a SequelSequel song.song. Still,Still, GeorgesonGeorgeson’s Eddie ago.ago. ItIt hashas agedaged aboutabout asas wellwell asas havehave thethe peoplepeople whowho again, with the occasional reunion gig. A year VanVan HHalenalen imimbuedbued ssoloolo iiss wworthorth ccheckinghecking oout.ut. usedused ttoo lilistensten ttoo iit.t. IItt iiss mmusicalusical wawallpaper.llpaper. IItt iiss nniceice ago they re-released that fi rst Sequel album and More in Sequel’s wheelhouse is “Untouch- wallpaper.wallpaper. IItt iiss wwellell ddesignedesigned wawallpaper,llpaper, ssurelyurely nnotot performed a reunion show at the Roseland Grill, able,able,” a song with numerous Loverboy allusions. ornate,ornate, bbutut inintentionstentions wwereere ggood.ood. WWhy,hy, hhowever,owever, meeting with favorable public response, if not a AllAll thatthat’s missing is Mike Reno with bandana head aftaft e rer t wtwentyenty y eyears,ars, a nanyoneyone w owoulduld wa wantnt t oto d rdragag o uoutt great deal of critical acclaim. Th is year’s release has bandband (t(thankfully,hankfully, nnoneone ooff tthehe mmembersembers ooff SSequelequel a ccollectionollection ooff wawallpaperllpaper iiss bbeyondeyond mme.e. PPerhapserhaps iitt seen far less exposure than its predecessor: since it everever adoptedadopted a bandanabandana headband).headband). TheThe CarsCars hashas ssomeome hhistoricalistorical vavalue.lue. BButut wwhathat tthathat vvaluealue mmayay was never released in the fi rst place. inflinfl uenceuence (which(which waswas nevernever particularlyparticularly hugehuge inin bebe iiss ddiffiiffi ccultult ttoo aascertainscertain aandnd mmostost ddefiefi nnitelyitely llefteft t oto So the story goes, the band had seven of the SequelSequel land)land) cancan bebe heardheard onon thethe fi rstrst ofof thethe threethree thethe earsears ofof thethe beholder.beholder. AndAnd soso thethe questionquestion stillstill ten songs found here already in the can, recorded livelive recordingsrecordings (which(which areare nearlynearly indistinguishableindistinguishable lingers,lingers, aaftft e rer a lalll t htheseese y eyearsars… Sequel to what? at Desitrek studios throughout the course of 1983, fromfrom ttheirheir sstudiotudio ccounterparts)ounterparts) “You Like You.” A when a label convinced the boys to shelve the crispcrisp ffour-chordour-chord pprogressionrogression oonn gguitarsuitars mmirrorsirrors DamnDamn GlGladad TToo MMeateat’cha - Th e Cowtrippers project, to concentrate instead upon some other thethe CarsCars’ arrangement of “It’s All I Can Do” from Self-ProducedSelf-Produced fi shing expedition that never panned out. Th e band theirtheir “Candy-O” period, while the vocals here seem he core of the Cowtrippers, vocalist eventually broke up before they could ever release farfar mmoreore eevocativevocative ooff CCarsars vvocalistocalist BBenjaminenjamin OOrrrr Billy McPhee, guitarist Drew Norman this (ahem) sequel to their successful fi rst album. thanthan anythinganything elseelse in thethe SequelSequel oeuvre.oeuvre. AllAll thisthis isis and bassist Will Youngman have been putput aasideside hhowever,owever, wwithith a cclassiclassic CCheapheap TTrick-likerick-like togethertogetTher forfor thethe betterbetter partpart ofof thethe pastpast decade,decade, fi rstrst Fleshed out with three songs recorded live at the dear departed Euphoria in early ’83 which were choruschorus andand bridge.bridge. Still,Still, thethe songsong isis anan obviousobvious asas membersmembers ofof PorcelainPorcelain God,God, a veryvery interestinginteresting used at the tine as demos for shopping the band to stylisticstylistic ddepartureeparture fforor SSequel.equel. metal/punkmetal/punk bband;and; aandnd fforor tthehe ppastast fi vvee yyearsears ttheyhey various labels, this album fully captures a band in Journey come to mind as part of the inspira- havehave beenbeen thethe Cowtrippers,Cowtrippers, which,which, forfor a while,while, waswas a time and a place which seem far removed from tiontion forfor thatthat “Kind Of Girl, ” as does, oddly enough, sortsort ofof a metal/funkmetal/funk bandband too.too. Th eeyy hhaveave eevolvedvolved today’s far more violent and menacing world. TomTom Petty.Petty. UncharacteristicallyUncharacteristically chunkychunky guitarguitar towardtoward a ssortort ooff ddevolvedevolved FFrankrank ZZappa/Captainappa/Captain And, taken on those terms, this album is chordschords pplayedlayed aagainstgainst a cchiminghiming gguitaruitar fi ggureure ccreatereate BeefhBeefh e aeartrt m emeetet 2 121st century beat poet (ala Tom a fun walk down memory lane. The songs are a somewhatsomewhat jarringlyjarringly juxtaposedjuxtaposed musicalmusical milieu-milieu- Waits)Waits) wwithith ffree-formree-form jjazzazz unundertones;dertones; a ssortort ooff catchy as hell, almost all edgy new wavey, hard forfor a SSequelequel ssong.ong. TThehe bbandand sseemseems ssomewhatomewhat motifmotif thatthat isis dense,dense, unwieldyunwieldy andand strangelystrangely engag-engag- driving eighth-note songs, with infectious pop outout iitt’s element here, as with the previous track. inging in iitsts oownwn vveryery ppeculiareculiar waway.y. hooks and fairly vacant lyrics. But what stands out ItIt wouldwould seemseem thatthat SequelSequel werewere recordedrecorded inin thethe Th e addition of saxman Benny Morrison has about Sequel are extremely tight ensemble playing, midstmidst ofof attemptingattempting toto makemake somesome additionsadditions oror nono doubtdoubt helpedhelped toto hastenhasten thisthis movemove towardtoward avantavant strong three-part vocal harmonies and Georgeson’s modifimodifi ccationsations ttoo ttheirheir ooverallverall ssound-ound- ttryingrying ooutut rockrock bbe-bopism,e-bopism, wwhichhich aatt ttimesimes lleadseads tthehe lladsads ttoo sterling lead guitar work, which was always the newnew sstylestyles aandnd ttexturesextures ttoo wwhichhich ttheyhey hhadad bbeeneen soundsound asas if theirtheir songssongs areare beingbeing playedplayed onon a vinylvinyl obvious strength of the band. recentlyrecently eexposed,xposed, wwithith tthehe inintenttent ooff iincorporatingncorporating recordrecord whosewhose holehole waswas cutcut offoff -center:-center: a woozy,woozy, Th e title track comes on strong, with a sneer- somesome ooff tthosehose eelementslements inintoto ttheirheir oownwn mmaterial.aterial. boozyboozy offoff -kilter-kilter swoon;swoon; a lurching,lurching, leeringleering derelictderelict ing Loverboy swagger to the vocals. Georgeson EvenEven tthehe mmoreore ttraditionalraditional ccomponentsomponents ooff tthehe fi nnalal pervertpervert ooff a ssoundound tthathat hhasas iitsts aappeal,ppeal, ttherehere iiss nnoo throws out a series of discreetly fl ashy guitar riff s cut,cut, “She’s Loaded” indicate a least a partial desire denying,denying, despitedespite a decideddecided propensitypropensity onon thethe bandband‘s which in some ways call to mind Blue Oyster Cult’s onon tthehe ppartart ooff tthehe bbandand ttoo bbroadenroaden ttheirheir mmusicalusical partpart towardtoward noisenoise forfor noisenoise’s sake. From the sounds Buck Dharma. “I’m Losin’” could be the work of scope-scope- aatt lleasteast ttoo a ccertainertain eextent.xtent. ofof it,it, thethe eighteight oror ninenine individualsindividuals in attendanceattendance Survivor (“Eye Of Th e Tiger”) or a similarly posi- Why most of the studio recordings found atat thethe venuesvenues wherewhere thesethese livelive recordingsrecordings werewere tioned ‘80s outfi t, with urgent vocals and a sense here,here, rrecordedecorded ssubsequentubsequent ttoo tthehe fi nalnal tthreehree liliveve captured,captured, ffoundound tthehe mmusicusic ttoo bbee cchallenginglyhallengingly of drama which belie the rather mundane lyrical trackstracks (which(which werewere recordedrecorded atat EuphoriaEuphoria MarchMarch ofof entertaining-entertaining- if ttheirheir rresponseesponse iiss aanyny iindicationndication ooff subject matter. ‘83),83), lacklack thatthat samesame spiritspirit ofof experimentationexperimentation isis a bitbit anything.anything. WWell,ell, iitt’s all enough to give new meaning One of the strongest cuts of the ten is “Over ofof a mystery.mystery. ItIt isis almostalmost asas if thethe bandband hadhad secondsecond toto tthehe ttermerm mmadad ccowow didisease.sease. You Now.” Roholt’s throbbing toms provide the thoughtsthoughts aandnd rretreatedetreated ttoo mmoreore ffamiliaramiliar mmusicalusical Th ese are mad cows of a completely diff erent jungle intensity for a song that could pass as the turf.turf. WWhichhich iiss ssomethingomething ooff a sshame.hame. color.color. logical follow up to Toto’s “Hold Th e Line,” with Sequel were never going to change the world. Th e album begins with a brief announcement perhaps a hint of Mickey Th omas-era Jeff erson Th aatt mmuchuch iiss cclearlear ffromrom wwhathat wwee fifi nndd hhereere FForor hhereere ofof thethe bandband’s name. Th en, as if jump starting an Starship (think of their hit of that time, “Jane”) isis oonene ooff tthosehose rararere bbandsands fforor whomwhom tthehe partsparts wwereere oldold pick-uppick-up ttruck,ruck, tthehe qquintetuintet sspringpring iintonto aaction,ction, thrown in. Georgeson’s guitar solo is fi ercely redo- greatergreater thanthan thethe sumsum GeorgesonGeorgeson andand JensenJensen standstand withwith “Th e Mime Before Me.” Morrison’s abstract lent of the work of Steve Lukather, chuckling and outout asas fi nene singerssingers andand musicians.musicians. Th ee ssongsongs aarere saxsax expositionsexpositions meldmeld withwith NormanNorman’s distorted chortling like a squirrel in a walnut tree. well-craftwell-craft e ded,, aass ffarar aass ttheyhey ggoo (w(whichhich iiss nnotot ffarar aatt guitar,guitar, asas YoungmanYoungman maneuversmaneuvers throughthrough intricateintricate “It’s Not Me” has a fi ne fugal sort of chord all)all) aandnd wwell-executed,ell-executed, fforor wwhathat ttheyhey aare.re. basslines,basslines, deftdeft llyy mmatchedatched wwithith TTonyony EEsperanzasperanza‘s

Page 26 - TWO LOUIES, January 2004 drums. Meanwhile McPhee expostulates, seem- ingly extemporaneously (though that is clearly an act) a vague tale. As the piece winds down, it segues into the heavy metal/ soul strut title number- which is buoyed by Esperanza’s smart backbeat From here, the ‘Trippers move into the vaguely hip hoppish territory of “66 Pills,” where McPhee’s writhing, guttural vocal tightens around visceral words: “I have my escape it tickles me inside/Knocks me to the ground, knocks me down to size/Size is bigger than life and I feel these colors change/I run and I still run but I’m tied down by these chains.” Sounds like the Rush Limbaugh story to me. “Real Swell Guy” profiles a stereotypical swinger type fellow: “his shoes are white and plastic, he’s a real swell guy/chest hairs and a large medallion, he’s a real swell guy,” over a fairly straight-ahead (for this band anyway), high speed arrangement. “Rubberman” is a prime example of that misplaced center-hole analogy. McPhee’s insane vocal antics, which seemingly channel Tiny Tim and Spike Jones, at times Introduced by Mcphee as “Another love song. By the way, every song tonight has been a love song, so you guys can relate, “Analingus” pretty much lives up to its name, ripping a new one over a Esperanza’s stut- tering martial beat. Moving in a dizzy waltz time, Young man provides a mechanistically melodic bassline to “The Zone,” which may be a furthering of the opinions voiced in the previous number. It is not easy to tell. “Ass” nicely reproduces a certain mindset indigenous to this region, which McPhee captures, first with a classic “hick” accent and then by braying mercilessly like a mule (or an ’ass” perhaps. Whatever the case the point is made and well taken. McPhee again seems to be evoking lost cartoon characters on portions of “Penny Wine,” cackling hideously . Still, there are moments when this band sounds like Steely Dan here to, so what are you gonna do? One would assume that “Pioneer 11” is pos- sibly a tribute to the deep space probing satellite, launched in 1975, with which all contact was lost in 1995. On the surface, that appears to be the case, although one can never be sure with this band. “The Cowtrippers have evolved toward “Every Dog Should Always Have A few Fleas“ starts out as probably the most accessible song of the set, a sort of devolved Frank Zappa/Captain although even this one is tinged with Beefheartian Beefheart meet 21st century beat poet weirdness in the middle, where McPhee again goes bi-polar. The band’s take on Orgone Box’s “Psoriasis (ala Tom Waits) with free-form jazz Woman” manages to put Rick Corcoran’s original number through a shredder, although the original undertones; a sort of motif that is dense, guitar lick remains mostly intact. The Cow Trippers have developed into an unwieldy and strangely engaging in its idiosyncratic performance art band with few own very peculiar way.” counterparts in the known real world. Most cer- tainly this is the sort of stuff that will not appeal to everyone. But, for the more adventuresome among you, this album might bear some offbeat merit. photo Buko LL

TWO LOUIES, January 2004 - Page 27 125,000 records. But since the record company is sense – i.e. physical records containing two songs. entitled to recoup the original $20,000 producer With the onset of the digital distribution age, the advance from the producer’s royalties, the record sale of single songs is once again becoming popular, company must pay the producer only another but the new downloadable digital single” is not Continued from page 5 $11,250 for those 125,000 records (the $31,250 in typically sold as a two song set (as was traditionally in order to determine the point at which producer total producer royalties up to that date, minus the the case). Th erefore, even though “singles” are now royalties must be paid. producer’s original $20,000 advance). becoming popular in the digital world, the tradi- Example: Let’s say, to make it simple, that For all records sold aft er those fi rst 125,000 tional two-song single – as well as the related con- the total recording costs are $125,000, and that records, the producer will continue to receive cept of “A-Side protection” – continue to become the 11% “Net Artist Rate” here equals $1 for each additional producer royalties at the rate of 25 cents more and more obsolete as time goes by. record sold. Once 125,000 records are sold, the for each such record sold. 8. Th e Producer’s Audit Rights. If the producer recording costs will have been recouped by the 5. “Pass Th rough” Clause. Most producer agreement is between the producer and recording record company (at the Net Artist Rate of $1 per agreements contain a clause, oft en referred to as company, the producer will normally have the right each record sold), and producer royalties will then the “pass through clause,” which provides that the to audit the record company’s books. be owed to the producer at that point. Under the producer’s royalties will be calculated on the same However, if the producer agreement is terms of most record producer agreements, those terms as the artist’s royalties. For example, if the between the producer and artist, the producer will producer royalties will be calculated on a “record artist’s recording agreement with the label says that not have the right to audit the label’s books. Th ere- one” basis (discussed below) the artist will not be paid on “free goods” and will fore the producer will oft en request a clause in the Again, no artist royalties will be paid to the be paid a lower royalty rate on foreign sales, then producer-artist agreement allowing the producer to artist for those 125,000 records. the producer’s royalty will be adjusted in the same force the artist to audit the label’s books on behalf 4. “Record One.” Th e term “record one” is way. Th is kind of clause can have very negative of the artist and producer jointly. a term oft en used with producer agreements. It consequences for a producer who is producing an 9. Producer Credits. Usually the producer means that once the recording costs are recouped artist who has signed a sub-standard record deal. agreement will state, sometimes very specifi cally, at the Net Artist Rate, the producer will be paid 6. Tricky Issues Concerning Recoupment. how the producer credit will read on record art- for all records sold, beginning with the very fi rst Th ere can be some fairly tricky issues in terms of work and in any print ads. record sold. Again, this is referred to as being paid how the recoupment provisions are written. For 10. “Re-Recording Restriction.” Generally the “from record one.” example, the producer will want to make sure that producer agreement will prohibit the producer Th is concept has very important ramifi cations the defi nition of “recording costs” in the producer from using any song from the project in another for both the artist and producer. In short, produc- agreement excludes any cash advances paid to project within a specifi c period of time, usually “Once the recording costs are recouped at twotwo oorr tthreehree yyears.ears. the Net Artist Rate, the producer will be paid THE FINANCIAL REALITIES OF RECORD COMPANY RECOUPMENT for all records sold, beginning with the very As mentioned above, producer royalties becomebecome payablepayable onceonce thethe recordrecord companycompany hashas fi rst record sold. Again, this is referred to recoupedrecouped thethe rrecordingecording costscosts aatt tthehe ““NetNet ArtistArtist as being paid ‘from record one.’ In short, Rate.”Rate.” AsAs a ppracticalractical matter,matter, tthesehese calculationscalculations aarere “Hollywood“Hollywood aaccounting”ccounting” aandnd hhaveave lilittlettle oorr nnoth-oth- producers are typically paid from ‘record inging ttoo ddoo wwithith tthehe fi nnancialancial rrealitiesealities ooff tthehe ssitua-itua- one,’ but artists are not.” tion.tion. IInn mmanyany (if nnotot mmost)ost) ininstances,stances, tthehe rrecordecord companycompany wwillill hhaveave ““brokenbroken eeven”ven” ffromrom ssalesales ooff tthehe ers areare typicallytypically paidpaid fromfrom “record“record one,”one,” butbut artistsartists thethe aartist.rtist. recordrecord llongong bbeforeefore iitt hhas,as, fforor accounting purposes, are not. So, using the above example, once 125,000 In general, the producer will want to have “recouped recording costs at the Net Artist Rate.” records are sold, the producer is paid for all records the term “recording costs” defi ned as narrowly as back to the very fi rst record, but under the terms possible. All things being equal, the narrower the Note: Bart Day is an entertainment attorney of the typical record deal, the artist would typically defi nition of “recording costs,” the lower the total in private practice and outside music counsel for be paid artist royalties on only those records sold dollar amount of recoupable recording costs there Vivendi Universal Games, the computer games unit aft er those fi rst 125,000 records. In other words, will be. And the lower the recording costs, the of Universal Studios. He is also VP of Business Aff airs the artist, using the sample numbers listed above, sooner those costs will be recouped by the record for Media Creature Music, a Los Angeles music pub- would not be paid artist royalties on those fi rst company, and therefore, the sooner the producer lisher and catalog administration company. 125,000 records. Th erefore, as a practical matter, royalties must be paid. Bart is the co-author of a chapter (entitled the producer typically gets a bigger piece of the total 7. “A-Side Protection.” Th is term relates to the “Contracts and Relationships between Major Labels artist/producer royalty pie than their respective producer royalties payable on “singles.” Established and Independent Labels”) in Th e Musician’s Business royalty rates would suggest. producers are oft en able to get “A-side protection,” and Legal Guide, a book compiled by the Beverly Here’s a (somewhat oversimplifi ed) example which means that their royalty is based on the Hills Bar Association and published by Prentice how all of this works: Let’s say a producer is paid entire retail price of singles, and not prorated if a Hall Publishing (New York). From 1998 to 2002, he a $20,000 advance, and that the producer’s royalty diff erent producer produced the “B side.” was an elected member of the Board of Governors of rate equates to 25 cents for each record sold. If, Though “singles” have been a dying part the Pacifi c NW Chapter of the Recording Academy using the sample numbers above, 125,000 records of the music business for a number of years, the (presenter of the Grammy Awards). are sold (such that the $125,000 in recording costs term “A-Side protection” still appears in many Th e reader is cautioned to seek the advice of the have been recouped at the $1/record “Net Artist boilerplate-type producer agreements. reader’s own attorney concerning the applicability of Rate”), the producer is owed $31,250 (125,000 Incidentally, when I refer to “singles” here, I’m the general principles discussed above to the reader’s multiplied by 25 cents for each record) for those referring of course to “singles” in the traditional own activities. LL

Page 28 - TWO LOUIES, January 2004 wwasas a commoncommon phrasephrase I wouldwould useuse withwith herher toto kindkind Paramount Reunion ooff lletet hherer kknownow wwee hhadad iissuesssues ttoo ddealeal wwith.ith. SSoo wwee Co n t i n u e d fr o m p a g e 7 wawalklk inintoto tthehe otherother roomroom andand sheshe seessees thethe guyguy andand needless to say it made for a very interesting seating ssoo - hhee wawantsnts mmee ttoo ttieie hherer uup.p. SSoo I llooselyoosely ttieie hherer arrangement for the show. Th e other thing was that wwithith a fl imsyimsy piecepiece ooff stringstring andand aboutabout thatthat timetime the fi re marshal didn’t like the fact that there were tthehe offioffi ccee whichwhich waswas inin thethe backback cornercorner ofof thethe lobbylobby hundreds and hundreds of people milling around aandnd iiss dirdirectlyectly ununderder tthehe ssidewalkidewalk aarearea uupp aabovebove outside and they couldn’t get in and it turned into wwhichhich wawass ParkPark AvenueAvenue there.there. SoSo wewe hearhear peoplepeople a kind of downtown scene. And then- the next wawalkinglking uupp aabovebove aandnd iitt sspookspooks hhim.im. HHee tthoughthought dayday wewe werewere allall summonedsummoned downdown toto visitvisit thethe fi rere ssomebodyomebody wawass aactuallyctually ccomingoming ddownown tthehe llobbyobby toto “During a Jackson Browne show - Bill WaltonWalton complained he couldn’t fi t into a seat. So we solved the problem by just letting him lay down in the orchestra pit. There he was just laid back - propped up - hands behind his head- legs sstrechedtreched out in front of him happy as can be - just groovin on the show.” marshal-marshal- JohnJohn Haviland,Haviland, TomTom Weir,Weir, myself,myself, thethe tthehe offioffi cce.e. SSoo hhee goesgoes outout intointo thethe outerouter offioffi cece areaarea Grateful Dead people and the people from LA who aandnd aatt tthehe ttimeime I hhadad ttakenaken aallll mmyy rreceiptseceipts tthathat I were co-promoting the show. And ultimately we wawass ccountingounting andand theythey werewere in a boxbox andand I placedplaced walked through the theatre, nailed up some wood tthemhem in thethe receptionreception area-area- onon thethe receptionist’sreceptionist’s here and there, fi xed a light and this kind of thing ddeskesk aandnd hhee wwentent ooutut tthroughhrough tthehe rreceptioneception aarea-rea- and the second day the show was allowed to play. sstickingticking hhisis hheadead ooutut in tthehe llobbyobby ttoo llookook aandnd sseeee iiff intoxicating As we left the theater the next morning as the sun ssomebodyomebody waswas comingcoming andand I grabbedgrabbed thethe moneymoney was coming up, driving down the street- 12th- that in tthehe bboxox ooffff thethe receptionist’sreceptionist’s deskdesk andand lockedlocked Jake’s is on and it was 5 or 5:30 in the morning- Bill mmyselfyself in tthehe tticketicket ooffiffi ccee wwithith SSueue aandnd ccalledalled tthehe TwoLouiesMagazine.com Walton was whirleybirding down the middle of the ccopsops aandnd hhee leftleft .. SShortlyhortly tthereafthereaft e rer o fof c ocourseurse w ewe street. I thought that was pretty good. We stopped hhearear tthishis nnoiseoise ooutsideutside aandnd ttheyhey ssay,ay, ““POLICE”POLICE” O N THETHE COCO VERVER: D r ew N o rm a n The Cowtrippers. and said, “Ya need a ride, Bill?” and he said, “Nope- aandnd II’m’m tthinking,hinking, ““yeah,yeah, ssure”ure” aandnd ssaid,aid, ““well-slidewell-slide Celebrating the bandʼsbandʼs 3rd release “Damn GladGlad ToTo Meat ʻChaʼ” at the Club Ohm. The new CD contains 12 tracks, just enjoying life”. He must’ve had a great time at yyourour bbadgeadge oror somesome ID underunder thethe doordoor andand I’llI’ll letlet all recordedrecorded livelive to to capture capture the the ener ener gy gy that that makes makes the the the Dead show too.” yyouou iin.n. AAndnd atat aboutabout thatthat timetime thethe guy-guy- youyou know-know- band so entertaining. (photo Buko) “Billy Joel was still one of the greatest shows yyellsells aatt mme-e- aandnd sshouts,houts, ““OPENOPEN THE FUCFUCKINGKING I ever saw at the Paramount. It was the same night DDOOR-OOR- THIS IS THE POPOLICE”LICE” aandnd I ddid,id, aandnd tthehe Rod Stewart was playing the Coliseum- Joel did rrestest isis history-history- a bungledbungled robberyrobbery attemptattempt byby a lonelone about a 20-30 minute Rod Stewart cover set during rrobberobber wwhoho wwasas sshakinghaking tthehe wwholehole ttime-ime- cconstantlyonstantly his show for all the people that, ‘might have wanted ttryingrying ttoo kkeepeep hhisis sskiki mmaskask oonn hhisis ffaceace aandnd wwee wwereere to be at Rod- but were nice enough to come see me.’ jjustust vveryery llucky.”ucky.” • Es ta b li s h ed 1979 • TWO L O UIES PUB LIS H IN G He sounded exactly like Rod Stewart- he was just The Paramount Reunion at the Roseland Edi t o r: B u c k Mun g e r mimicking him- it was awesome. I think the KISS GGrillerille DDecemberecember 22nd22nd waswas a sweetsweet tributetribute toto allall G ra p h i cs & P h o t o Edi t o r: B uk o and Rush shows that played at the Paramount were tthehe wwonderfulonderful ppeopleeople wwhoho hhelpedelped rrockock PPortland.ortland. Tw oLo ui e sM a g azin e .co m A rt D ir ect o r: amazing. Another night Styx was supposed to play PPeopleeople wwhoho rregularlyegularly aattendedttended tthehe sshowshows ccameame De b McWillia m s Wri t e r s: and cancelled and Heart ended up doing a $2 show ttoo ppayay ttheirheir rrespectsespects ttoo aann eraera gonegone butbut certainlycertainly S.P. Cla r k e • Ba rt Da y • J o h n Dufr e s n e on 6 hours notice and did over 2,500 people- that nnotot fforgotten.orgotten. MMr.r. KISS himself,himself, TommyTommy Th aayeryer N.L. F o g e rty • De n n i s J o n e s was kinda cool- the magic, man- was rolling. drdroppedopped bbyy oonn hishis wayway toto NewNew Year’sYear’s EveEve atat thethe De n n y Me ll o r • Ro b in Ro se m o n d Ill u s tra ti o n: T im R u t t e r Michael McManus remembers the excite- PPlayboylayboy mansion.mansion. PhotographerPhotographer FredFred CarneauCarneau sur-sur- P h o t o gra p h e r s: ment, “I was on the phone one Monday morning pprisedrised staffstaff ersers withwith a superbsuperb shotshot ofof thethe ParamountParamount Da vi d Ac k e rm a n • B uk o talking to corporate when suddenly a guy walks iinn itsits heyday.heyday. Cartoonist/Cartoonist/ fi lmmakerlmmaker BillBill PlymptonPlympton G u s ta v o Ra po po rt • P a t S n y d e r into my offi ce area and sticks a gun in my face and wwasas ttherehere oonn hhisis wwayay ttoo tthehe ppremiereremiere ooff hhisis nnewew fi llmm P rin t ed b y: O r eg o n Li th o p rin t he’s wearing a ski mask and I just thought it was ““HairHair HHigh”,igh”, Jan.Jan. 2121 atat thethe SlamdanceSlamdance FilmFilm Festival.Festival. Tw o Lo ui e s M a g azin e one of the staff pulling a joke on me and I sort of AAndnd JJohnnyohnny KKoonce’soonce’s GGasas HHogs,ogs, pplayedlayed oon.n. II’d’d 2745 NE 34th • Po rtla n d , O R 97212 just ignored him. Well he ends up taking the phone ppersonallyersonally lilikeke ttoo eexpressxpress mmyy lloveove aandnd ggratituderatitude ttoo P H O NE (503) 284-5931 Em a il a d dr e s se s: from me as I’m still talking to people up in the oourur PParamountaramount FFamily-andamily-and ssayay tthathat wwee aarere sstilltill aallll Edi t o rial: Tw oLo ui e@a o l .co m corporate offi ce and I kinda get the idea suddenly fforor oneone andand oneone forfor allall andand in ourour dreams-dreams- indeedindeed La y o u t: b uk o@b uk o.n et that maybe he indeed means serious business here tthehe sshowhow wwillill ggoo oon.n. We b: Ri b b i t t123@a o l .co m and this is not a joke. So at that time Sue Evans, our - In loving memory of Willis (Holly) Holland, © 2003 b y Tw o Lo ui e s M a g azin e . M a y n o t be r e p r o d u ced in a n y f o rm wi th o u t th e e x p r e s sed Ticket Manager was in the outer offi ce- in the ticket FFreemanreeman HHatfiatfi eeld,ld, JJayay HHaasaas aandnd BBruceruce SStein.tein. wri t t e n co n se n t o f th e p u b li s h e r. offi ce room with the safe where the take was stored Tw o Lo ui e s i s a va il a b l e b y s u b scri p ti o n. as well and I kind of say, “Sue, guess what?” which LL Se n d $35.00 f o r o n e y ea r, po s t pa i d .

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Page 30 - TWO LOUIES, January 2004 On two seperate occasions I was handed $40 BRATBRAT REMEMBREMEMBERSERS cashcash - (Both(Both ttimesimes a ccoupleouple ooff ddaysays aaftft e rer w ewe h ahadd DearDear EEdior,dior, playedplayed there)there) - I admitadmit thatthat I simplysimply putput thethe $40$40 (on(on As a guy who spent many of my youthful years twotwo separateseparate occasions),occasions), in mymy pocket,pocket, andand beforebefore slingingslinging a gguitaruitar in PPortlandortland bbarar wawarsrs iinn tthehe BBratsrats tootoo long,long, itit waswas spentspent onon thethe usualusual thingsthings moneymoney andand thethe BachelorsBachelors workingworking soso manymany nightsnights reallyreally getsgets sspentpent oonn wwhenhen oonene iiss ssupportingupporting a hhomeome aandnd diddid nnotot aallowllow a bbandand mmemberember mmuchuch ooff a cchancehance ttoo family...family... I diddid notnot shareshare anyany ofof itit withwith thethe otherother seesee ootherther bbandsands pplay,lay, oourur liflifelineeline wawass eeitherither TTwo-wo- Continued from page 3 bandband mmembersembers - LouiesLouies oror FreshFresh WeeklyWeekly maybemaybe positivelypositively rockrock andand knowledge with the ‘employees’? It has never been I was notifi ed by email that I was no longer ‘in roll.roll. soso onon a recentrecent triptrip backback toto PortlandPortland fromfrom mymy an ‘equal-in-equal-out’ set-up, and never will be - thethe band’,band’, butbut I ‘could‘could playplay thethe nextnext twotwo Tuesdays,Tuesdays, ifif homehome bbasease ooff LLaa PPuenteuente CCaliforniaalifornia I sstoppedtopped fforor a If this were the case, everyone associated with the I broughtbrought mymy PA’...PA’... Th ee ootherther mmembersembers wwereere ggoingoing quickquick beerbeer atat a taverntavern inin VancouverVancouver {I{I believebelieve itit waswas band would be helping to pay for the PA, helping toto callcall themselvesthemselves ‘Th‘Th ee OOtherther GGuys’uys’ aandnd wwereere ggoingoing calledcalled Jollies}IJollies}I waswas surprisedsurprised toto seesee picturepicture ofof BillyBilly to haul it, helping with advertising, promoting, fuel toto ggoo oonn wwithith a diff eerentrent drdrummerummer - GibbonsGibbons sstaringtaring atat mmee aandnd mmyy bbrotherrother I ggrabbedrabbed costs... You get the idea, I know - What has happened, in reality, is that the thethe mmagag ooffff tthehe ppileile aandnd mmustust ssayay tthehe mmagazineagazine When I’ve worked with folks like Terry Robb, membersmembers ooff ‘‘ThTh ee OOtherther GGuys’uys’ aarere a cactuallytually r eprepre-re- isis aass ggoodood aass iitt wawass {I nnowow wwillill ddateate mmyselfyself }2}200 oorr it’s the same thing; I’m told what the gig pays me, sentingsenting tthemselveshemselves aass ““ThTh e eW iWisese G uGuys”,ys”, a an anameme maybemaybe 25 yyearsears aagogo ggladlad ttoo sseeee tthathat yyouou aandnd yyourour and asked if I wish to do it - I have no knowledge theythey havehave nono rightright toto - Th eeyy hhaveave bbookedooked aa pprivaterivate magazinemagazine hhaveave sstoodtood tthehe ttestest ooff ttime...... ime...... (nor would I ask) what the ‘boss’ is getting paid - partyparty in mymy namename (Th ee WIWIsese GGuys),uys), aandnd tthehe cclientlient good luck in future Th at being said, I feel it’s important to say waswas VERVERYY uupsetpset wwhenhen ttheyhey hheardeard mmyy nnewew vversionersion Ron Resak that,that, ddueue ttoo tthehe ssomewhatomewhat didismalsmal ppayay ooff mmanyany iiff atat tthehe SSpotpot BBarar & GGrillrill rrecently,ecently, aandnd mmadeade iitt qquiteuite the clubs in our area, I always have split the income clearclear tthathat ttheyhey tthoughthought ttheyhey wwereere ggettingetting US, nnotot COUNTRYCOUNTRY AL ERRERROROR themthem - Th eeyy hhaveave ddoneone tthishis aatt aa cclublub iinn VVancouverancouver evenly, many times even taking less for myself to DearDear EEditor,ditor, make sure another got a decent amount of income (a newnew oowner,wner, wwhoho ddoesn’toesn’t kknownow mme),e), aass wwellell - My wife brought to my attention a couple (Th ere was one exception to this, where I gave Very recently, the ‘Other Guys’ tried to capture ofof eerrorsrrors iinn ‘‘TheThe GGood,ood, TThehe BBad,ad, & TThehe UUgly’gly’ myself 15% extra, to help make a PA payment, this a giggig I hadhad bookedbooked severalseveral monthsmonths agoago byby callingcalling articlearticle ffromrom yyourour DDecemberecember 22003003 iissue.ssue. SS.. PP.. the only time out of 11 months of keeping everyone thethe cclub-ownerlub-owner aandnd rrepresentingepresenting tthemselveshemselves aass ClarkeClarke reviewsreviews thethe LewLew JonesJones CDCD ‘Rain‘Rain OnOn thethe employed 4 and oft en 5 nights a week) - Th is has meme - Th ee oownerwner kknewnew tthehe ddiffiff eerence,rence, hhowever,owever, Marshland’Marshland’ onon pagepage 23. InIn thisthis articlearticle S. P.P. ClarkeClarke mentionsmentions gguitaristuitarist AAll MMacLeod,acLeod, aandnd iindicatesndicates tthathat “I played drums with ‘Countr ‘Countryy Al & His Pals’, a andnd I a alsolso k knewnew A All Mr.Mr. MacLeodMacLeod playedplayed withwith ‘Country‘Country AlAl & HisHis Pals’.Pals’. MacLeod. Al MacLeod is not ‘Country‘Country Al’ and he nevernever playedplayed withwith LaterLater in thethe aarticlerticle MMr.r. CClarkelarke eveneven refersrefers toto Mr.Mr. ‘Country Al & His Pals’. MacLeodMacLeod asas ‘Country‘Country Al’.Al’. NeitherNeither ofof thesethese state-state- mentsments aarere ttrue.rue. oft en led to economic crisis in my own household, notifinotifi eedd meme aboutabout thethe ruse,ruse, andand thethe correctcorrect bandband I played drums with ‘Country Al & His Pals’, but I feel that there is an absolute minimum that playedplayed (u(us)s) - andand I alsoalso knowknow AlAl MacLeod.MacLeod. AlAl MacLeodMacLeod isis notnot quality players should work for, and I’ve always Th ee inindividualdividual ddoingoing tthishis iiss aalsolso g ogoinging o uoutt o fof ‘Country‘Country AAl’,l’, aandnd hhee nneverever pplayedlayed wwithith ‘‘CountryCountry sought to maintain this standard - Recently, one hishis wawayy ttoo ccontactontact eeveryoneveryone in oourur mmusicusic ccommu-ommu- AlAl & HisHis Pals’.Pals’. I metmet AlAl MacLeodMacLeod whenwhen hehe camecame of the members (now ex-members), of the band nitynity hhee ccanan ttoo ppersonallyersonally didiscreditscredit mmee iinn wwhateverhatever toto mymy studiostudio toto recordrecord guitarguitar onon a songsong byby AlbertAlbert decided that a club we played at had payed me wayway mightmight getget somesome attentionattention fromfrom whomeverwhomever he’she’s GarciaGarcia (of(of ‘Country‘Country AlAl & HisHis Pals’).Pals’). PlayingPlaying BassBass considerably more than we were actually paid - He talkingtalking ttoo aatt tthehe mmomentoment - onon thatthat samesame recordingrecording waswas AlanAlan ElstadElstad (also(also ofof based this on his experience of having played the In my humble opinion, he’s exhibiting a seri- ‘Country‘Country AlAl & HisHis Pals’).Pals’). I’mI’m notnot suresure ifif anyany ofof usus same club recently with another band, and having ousous lacklack ofof integrityintegrity andand professionalismprofessionalism seekingseeking toto everever ddecidedecided wwhoho ‘‘CountryCountry AAl’l’ rreallyeally wawas.s. IItt ccouldould made more money with them - (Although, truth dodo asas muchmuch damagedamage toto meme (and,(and, byby extensionextension thethe havehave bbeeneen AAlbertlbert GGarcia,arcia, AAlanlan EElstad,lstad, oorr mmaybeaybe be told, his math is incorrect, even for the other otherother peoplepeople whowho workwork withwith me),me), asas hehe (they?)(they?) can,can, eveneven ourour femalefemale vocalist,vocalist, AllisonAllison Rice.Rice. But,But, oneone band he thinks was paid more...) apparentlyapparently ssomehowomehow tthinkinghinking tthathat tthishis iiss ggoodood fforor thingthing iiss ccertain:ertain: iitt wawass nnotot AAll MMacLeod.acLeod. We were in this club on a ‘fi rst-time-we’ll- thethe mmusicalusical ccommunityommunity - Al MacLeod is a very good guitarist. I don’t give-a-listen-and-if-we-like-it-you’ll-get-more- My choice is to NOT play their childish games knowknow whatwhat AlAl waswas doingdoing musicallymusically whenwhen AlbertAlbert next-time’ basis - And the other band he had - I strivestrive ttoo ssurroundurround mmyselfyself wwithith ppeopleeople wwhoho GarciaGarcia fi rstrst metmet him.him. But,But, notnot tootoo longlong aftaft eerr oourur played there with has a history there, and thus posessposess knowledge,knowledge, professionalismprofessionalism andand integrity,integrity, recordingrecording sessionsession HankHank RascoRasco calledcalled lookinglooking forfor a gets paid more - andand I givegive tthehe ssameame ttoo tthemhem - guitaristguitarist andand I recommendedrecommended AlAl MacLeod.MacLeod. Sub-Sub- Ever since then, things have been very dif- I trust that in time, as people realize the truth sequently,sequently, I believebelieve AlAl playedplayed withwith ‘Th‘Th ee RRascos’ascos’ fforor fi cult, with this person seeking to discredit me at ofof tthingshings bbyy tthehe aactionsctions ooff tthehe vavariousrious cconcernedoncerned a sshorthort sstint.tint. LLater,ater, AAll ssatat in ooncence oorr ttwicewice wwithith every turn, in ways that would astound you - VERY individuals,individuals, tthingshings wwillill rreturneturn ttoo a ppointoint ooff ccalmalm ‘Trigger’s‘Trigger’s Revenge’.Revenge’. I lostlost tracktrack ofof AlAl aftaft eerr tthat,hat, aandnd unprofessional - - ForFor myself,myself, I’mI’m simplysimply tryingtrying toto staystay employed,employed, lastlast I hheardeard hhee wawass lilivingving in HHoodood RRiver.iver. Th e other time in question is with a club we doingdoing whatwhat I lovelove toto do,do, atat thethe highesthighest levellevel I cancan I know that’s a lot more information than you had played a weekly successful Jam Session in for a dodo iitt - PPleaselease kknownow tthathat mmyy ccurrenturrent bband-matesand-mates needed,needed, bbutut I jjustust wawantednted ttoo cconvinceonvince yyouou tthathat AAll year (as a matter of fact, this is the gig that brought andand I havehave discusseddiscussed thisthis problemproblem atat length,length, andand MacLeodMacLeod waswas NOTNOT ‘Country‘Country Al’Al’ (although(although I dodo wewe havehave nono furtherfurther concernconcern ofof it,it, savesave thethe factfact thatthat all these particular players together in the fi rst considerconsider hhimim oonene ooff mmyy ppals).als). place) - I did, in fact, have a ‘bonus’ agreement in thethe listeninglistening publicpublic mightmight bebe a bitbit confusedconfused byby thethe place with this club, and, besides having built-up other’sother’s aattemptedttempted uusese ooff oourur nnameame - Sincerely, their music reputation quite a bit, I also created Intrestingly, as a by-product of all this, I cur- Jay Bradshaw (and maintain) this club’s website, and have helped rentlyrently havehave thethe bestbest line-upline-up YETYET in thisthis versionversion ofof them quite a lot in terms of promotion - What I ‘Th‘Th ee WWiseise GGuys’,uys’, aandnd II ininvitevite eeveryoneveryone ooutut ttoo hhearear mean is, I had a diff erent relationship (I thought) forfor themselvesthemselves - with this particular place than I have with any Most Sincerely, other - Eric Donaldson LL

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