OREGON MUSIC
photo Buko Sandin Wilson - CD “Into My World” Original Contemporary Pop/Jazz Featuring Carlton Jackson, Paul Mazzio, Jaybird Koder, Tim Bryson and special guest Doug Fraser
“Sandin is a fantastic bassist/vocalist and was a pleasure to work with on his debut recording” Jimmy Haslip Yellowjackets “ A world class bassist/composer, with a great singing voice, wilson has assembled a talented cast for his inaugural CD as a leader.” Wayne Thompson Jazzscene Magazine
“We were impressed with the fact that Jimmy Haslip was involved. Now we know why, Sandins music is excellent!” Ron Garrant - editor Bassics Magazine
Look for the CD at all Tower, Music Millennium, & Everyday Records “Hear it on KMHD” You can also listen online at www.cdbaby.com or Sandinwilsonmusic.com “Contemporary Music for Sophisticated Ears”
for booking please [email protected]
Page 2 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 3 Marlon Moves to Hollywood. Marlon McClain was Portland’s first indie producer. Marlon produced projects for most of the local acts that got major label deals before moving to Los Angeles where he has thrived as a producer, writer and musician. “I’ve got the next single from En Vogue,” Says songwriter McClain. This month Marlon is back in town at Falcon studios to produce Curtis Salgado’s new album. Pictured in the studio from left, standing: Dennis Carter, Sandy Solomon. Seated: Curtis Salgado, Marlon McClain
Photo Rapoport
Page 2 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 3 Page 4 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 5 PRODUCTION DEALS Often these production companies have Signing of Artists In recent years, there has been an increasing a company name and logo which make them These contracts typically limit the total frequency of so-called “production deals” -- in look like a record company, and the production number of artists the production company other words, deals between record companies, company’s name and logo will appear on records may sign over the entire term of the agreement on the one hand, and production companies, next to the major label’s name and logo. This and/or for each year during the term. The more on the other hand. can sometimes give the mistaken impression established and successful the production com- There are a number of reasons for this that the production company is a stand-alone pany is, the more artists it will be entitled to development, but it is largely due to the increas- ing clout of established producers over the years, as well as the business savvy of some of those producers.
Some Basic Terminology Before we get too far here, though, fi rst a word about terminology. When I use the term “production deal” below, I will be talking about record company. sign. deals between production companies and record Incidentally, in the case of production com- The contract will specify the total number companies, and not deals between producers and panies owned by major producers and artists, of albums the production company will be artists. It is important to make this distinction sometimes the deal between them and a major required to supply for each artist. The produc- tion company (and its artists) will be obligated to “Production deals provide for the major ultimately deliver that number of albums, even if the term of the production agreement expires label to pay royalties to the production before that happens. company, based on a percentage of the Most production agreements are “first look” agreements, giving the major label the retail price. The typical range is 16% to fi rst rights to a record delivered by the produc- tion company, but the major label will not be 18%, less the same packaging and other obligated to commercially release all albums delivered by the production company. For kinds of deductions that are standard.” example, the major label might reject an album here, because the latter kind of deal is also often label is different than the type of deal discussed or artist that the major label considers to lack referred to as a “production deal.” But they are in this article. Often, for example, the deal will signifi cant commercial potential. As a result, the two completely different animals. be a joint venture deal, whereby the established production agreement should allow the produc- producer or artist is setting up a joint venture tion company the right to offer any rejected art- “Production Deals”: The Basic Points with a major label. In that situation, the major ists or masters to another label. Production companies, sometimes referred label is not paying the production company a to as “imprints,” are companies which fi nd and royalty, but is instead sharing net profi ts with Royalties sign talent and produce records. Many are the production company. In short, though, joint Production deals provide for the major owned by producers that have reputations for turning out commercial hits. Others are vanity Most production agreements are ‘fi rst labels owned by successful recording artists that have been rewarded by their labels with look’ agreements, giving the major label production deals. the fi rst rights to a record delivered by the Usually the scenario with production deals is as follows: The production company signs art- production company, but the major label ists to a recording contract, and agrees to pay royalties at a specifi ed royalty percentage rate. will not be obligated to commercially The production company also signs, separately, a production agreement with the major label. release all albums delivered by the This provides for a higher royalty rate to be paid production company.” by the major label to the production company, than the royalty rate which the production com- venture deals are very different from “produc- label to pay royalties to the production com- pany label has agreed to pay to the artist. The tion deals” (as that term is usually used), and pany, based on a percentage of the retail price. production company’s profi t, then, is based on so, I’ll discuss joint venture deals separately in The typical range is 16% to 18%, less the same the difference between the royalty rate it receives a future article. packaging and other kinds of deductions that from the major label and the (lower) royalty rate are standard in most recording agreements for which it is obligated to pay its artists. Term of Agreement artists. Under the terms of the usual production A production deal will typically have an ini- deal, the production company delivers master tial term of two or three years, with the major Advances recordings to the major label, which then presses, label having options for an additional one to The major label may advance monies for distributes, markets and promotes the records three (or more) years. directly or through its subsidiaries. Continued on page 31
Page 4 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 5 anxious, slightly disoriented all the while safe in a warm and familiar place.
Dreamboat Annie News Flash! This just in. Soon to be dodging the Internet download pirates is sure to be the much recently celebrated Anny Celsi. Her latest release “Little Black Dress” just jumped from # 49 to # 25 on the Roots Music Report (www.rootsm usicreport.com ) weekly chart. The Roots Music Report promotes roots, bluegrass, roots blues and roots rock artists, charting airplay on radio sta- tions around the country and around the world. Get down with your bad self and remember you heard about “Little Black Dress” here first back in the April 2003 issue.
Go Your Own Way Portland Flashback Weekend Are the rumors true? Inquiring minds Los Angeles; city lights disappear want to know. Rumors fueling the Everclear like fading stars as Alaska flight 275 implosion may be fed by Art Alexakis’s solo makes it’s way North over the Pacific acoustic show scheduled for Ocean and inland cross-state. The October 17th at the Knitting Fac- low hum of the airplane lulls me into tory (www.knittingfactory.com/ a state of consciousness somewhere kfhollywood/index.cfm) in Holly- between attention and indifference. wood. It’s billed as “a night around Turbulence, as we break through the the big-time rock ‘n’ roll campfire”. clouds, the first site of the Columbia If the breakup is true, I’m sure the River in view. Touch down, PDX safe ex-band members would see it a and sound. “Bonfire of the Vanities”. Careful with those claws, kitten. Wish You Were Here I’m making this trip to catch the You Can’t Always Get What You Want sweet spot of Oregon’s fall season. The I left Los Angeles (as well as waning days of warm, clear weather the rest of the world) in a state of before the long haul through the gray struggle in the efforts to cope with dampness of winter. This trip, I’m a uncertain change. Between the California Recall Election (please, let’s leave politics to politicians and acting to actors), as well as the retalia- tion of the Music Industry, out to slap the hand that feeds it, with a wave of fresh lawsuits targeting the twelve year old girls downloading the latest Limp Bizkit release off the Internet, I feel as if we are in “duck-and-cover” mode, waiting for the dust to settle, while the big guys duke it out. man without a plan, only looking to leave a head full of Los Angeles worry behind While My Guitar Gently Weeps for a few days of Northwest bliss and the OK, enough soapbox! Now, it’s chance to catch up with family and old time for a shameless plug for new friends. As I make my way from the air- friends at Apple Music. Chuck and Stu port, I tune the radio of my rental to 105.9, at Apple’s Acoustic Shop are offering The River. Finding a soundtrack source some great deals on “quality” instru- for the days to come, I find myself being ments. They know how to point you in swept back in time. In a wash of seldom- the right direction and then get out of heard and almost-forgotten album tracks your way and let you fall in love with from the 70’s and 80’s I am drawn back your “Axe-to be”. I walked out with into my Oregon past. The Dead, Traffic, a brand-new Gibson ES137 for a $ Steve Miller, Pink Floyd, Credence Clear- 100.00 less than advertised on Musicians water Revival, a mood of nostalgic longing Friend! Thanks guys, you rock. mixed with mild anticipation leaves me feeling Continued on page 26 Page 6 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 7 Kevin Anderson, Matt Kramer and Denny, dodging “bullets” at Cannon Beach. photo John Bennett
inger/Songwriter Tamaras called column several weeks later, the sound system ber 3rd has just released a ten song album from L.A. last month, just to chat at that place really works well especially when featuring fi ve Buzz Clifford songs including Sand to inform me of her upcom- you have such great comp seats up close to the title cut “Lying In The Face Of Love”. ing show at Haven on S.E. Division. I always the stage. Nugent was a little to pro-war for Buzz played guitars, sang and co-produced like her shows because she raps about her most of us but ZZ TOP just played most of this cd and I was a little disappointed that he views on important social and political their killer medium tempo-kicks ass style couldn’t make the tour but his work on this issues, life in Hollywood and her trials and travels on the road in between each of her “Juana Camileri and Bob the” Blues Monster” songs. I’ve got Tamaras’s “Live In Japan” CD but she’s put out at least four or fi ve, check Shoemaker are back home in Portland after a out www.tamarasrocks.com for more info. My favorite Tamaras quote for this tour series of grueling cross-country tours culminating performance is “When I fl y over a clear-cut forest it reminds me of a dog with really bad on Martha’s Vineyard, Juana’s second home. ” mange!” Speaking of famous singer/songwriters tunes and left the politics out of their part of cd is incredible as usual. Buzz and I played Juana Camileri and Bob the” Blues Monster” the show. Billy had a great axe given to him together a few years ago and tried to hammer Shoemaker are back home in Portland after a by Bo Diddly and a 59 Les Paul (of course), out a working band or two and played a scary series of grueling cross-country tours culmi- the bass appeared to be a old Fender Tele- biker gig at Stonehendge in the gorge but the nating on Martha’s Vineyard, Juana’s second Precision and the drum kit actually included Portland scene just wasn’t working for him home. Juana is hiding out in her new studio a NORTH rack mount tom probably made in so he headed south to warmer fi shing holes working no doubt on more of her hauntingly Portland in the seventies or early eighties ?. and bigger super stars. beautiful yet addictive songs of life, love and Anyway thanks to the band for the great show For more of Anna Montgomery check her deep insight into the human soul and and after show “meet and greet”. out www.AnnaMontgomeryBand.com spirit, welcome back Juana. Old Buddy Buzz Clifford is at it again, I had a rather interesting week last month We had a blast at the ZZ TOP/NUGENT Anna Montgomery who helped out on vocals so I thought I’d share my experiences with all gig up at the Clark County AMP-a-theater, as well as opening the show for Grammy of you hard working musicians so you can get I’m still able to hear Ted as I’m writing this winner Shelby Lynne at the Roseland Octo- Continued on page 26
Page 6 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 7 I’ll Be your Mirror - Little Sue & Lynn Conover recording (produced by Gavin Pursinger at red Carpet Record- Self-Produced ing) is a similar venture, recorded pretty much live (with a few usannah “Little Sue” Weaver and Lynn Conover have overdubs), utilizing acoustic guitars, mandolin and a little banjo been staples on the local scene for over a decade each. here and there. SWeaver fi rst came to prominence as a member the It appears that Conover takes the lead vocal role in most Crackpots in the early ‘90s, quickly forging a successful solo career cases, although it’s extremely hard to tell, as both women have for herself. She has recorded three solo albums over the past six very similar voices, reedy and girlish, lending themselves to or seven years. Her most recent release, The Long Goodbye, was wonderful harmonies across the fourteen tracks presented on reviewed in these pages last November. this advance pressing (accompanied by no information other Lynn Conover has been a fi xture on the local folk circuit for than track titles and times). nearly twenty years; playing with the Welfare Ranch Rodeo, Billy The songs appear to be a variegated mix of original songs Kennedy, and the Lynn Conover Trio, among countless others; and cover tunes. Most likely, as with their live performances, this releasing numerous recordings over the years. material is drawn from numerous local and universal sources. For several years now, Weaver and Conover have fi lled the Both Conover and Weaver are accomplished songwriters, as Monday night slot at the White Eagle; which has showcased well. Only Bob Dylan’s “Buckets Of Rain” is readily identifi - their unique interplay, both vocally and instrumentally. This Continued on page 10
Page 8 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 9 ’m such a fan. Tonight I got to hear and tee shirt, black jeans and tiny dark gray boots that and just to touch him. He had an infectious laugh see Shelby Lynne perform almost her were obviouly designer made. She is just about the and loved to smoke pot, eat, drink and talk politics. Ientire new album Identity Crisis. The last most personable gal I’ve ever seen perform. It was Cork was a man of smaller stature, but he lived time I saw her was December 1, 2001. It was a cold, very intimate and the band was tight. Shelby came a big and magical life. His story is mostly one of cold night and Shelby was late. Tonight I got there out after the show and we got to meet her. She joyous humor with dark pockets like all of us. You early and saw two ladies sitting at a choice table for hugged everyone and autographed our set list. can run, but the grit of existence can never be far four. I introduced myself and they turned out to I remember when I intro- from your door. There will be a service for Cork be Cindy, who was turning duced my son to Cork Hubbert, Hubbert at Berbati’s Pan on Monday October 13th. 39 as we spoke, and Ann, the famous actor from Portland. Please come and share a story. who wanted people It was high summer and Cork was I’ve been to New York and back again. I vis- to call her Marie. visiting Goose Hollow where we lived at ited Bill Plympton’s Studio near Madison Square I asked if Park and it was fi lled with talented and young employees. He looked happy and he was on his way to all points of the globe promoting his next movie project. I ate at Tabla, and it was great to sit outside in the heart of New York City and eat delicious East Indian cuisine. The Salt & Pepper shrimp were spicy good. My main reason for the East Coast visit was to be by my father’s side after the other two the time. He walked his stroke on Labor Day weekend. My father was seats were taken. They said by my fenced yard born on September 22nd 1922. It also happens to no and politely where the kids be Bilbo Baggins’s birthday, but that’s another story. agreed to let me sit were playing and As I drove the city streets of Manhattan, Brooklyn with them at the best when my son and Jersey, they all reminded me of Pops. I listened table in the place. It to Bruce Springsteen’s was at the Roseland. The Rising everywhere The whole scene there I drove. His song is askew; but who am Missing was written I to judge any club about the victims of scene? The opening September 11th, but act was Los Brothers. people die every day What a fantastic trio and it’s all about hon- from Texas. Power rock, oring those who pass incredible showman and and this record brought infectious entertainment me universal comfort that would even impress like Bruce and Patti Jimi Hendrix. I say Jimi Springsteen have never because the guitar playing done before. . It was by the lead guitar and bass fi tting that Pops made it players is phenomenal. They through his birthday on even did tricks! I can only tell the 22nd and peacefully you to go buy the record and passed on September count yourself lucky to have 23rd at 11:30AM. It seen these guys live. They are caught sight was the fi rst day autumn tops. Shelby had her band play a few songs before of Cork, he and consequently, it was she came on. A keyboard player called Ms. Mont- immediately also Bruce Springsteens’s gomery was from Los Angeles via Indiana. She ran over to birthday. We are dying is a trained professional who can rock. She also him and held his hand gently. My son looked every day and this is a time when irony can brought a lot of fi nesse and a powerful voice to at Cork with the sweetest expression of awe and bring the greatest peace. During this diffi cult time the evening. After a few of Montgomery’s original love. Children adored Cork and were drawn to I visited a lot of drinking establishments and at one point I was sitting in the Oak Room at the Plaza “Children adored Cork and were with Sara Neary, a friend and a designer of knit wear. She let me stay at her loft in Brooklyn and she drawn to him When we went to knew what a hard time I was going through with the death of my father. I told her that although it’s Disneyland together and were been tough, it’s been beautiful. She didn’t know how I could fi nd any beauty in it and she asked me besieged by little ones wanting his if I believed in life after death? I thought a moment and said, “I’m not sure about life after death, but I autographs and just to touch him.” certainly believe in death after life”. songs, Shelby came on stage sporting a short hair him When we went to Disneyland together and cut. She looked spry and tidy with a Los Brothers were besieged by little ones wanting his autographs Write to me: [email protected] LL
Page 8 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 9 Drunk Friend” is faithful, but sparser. “Footprints” the task, Curl roils and moils briefl y, before return- has a certain spry hymnal quality about it that leads ing to his more pensive side, displaying a beautiful one to the alter of gospel music. Their version of falsetto in the process. Hayes springs forth with Wanda Jackson’s “This Gun Don’t Care,” is far more Edge-like majesty in the uproar of the extended Continued from page 8 down home than the original, with mandolin and fade. Impressive. able, although several of blues numbers, as well jangling guitar. More like latter-day Bono, Curl wraps his as a few Appalachian folk songs and a couple of This is all O Brother Where Art Thou? sort luxuriant voice around a piquant melody on the country tunes as well, are either culled from the of stuff, played in a style reminiscent of long ago ballad “Safe Distance.” An instantly memorable public domain, or secured from remotely obscure days that probably never existed. But there it is. chorus chimes in soon enough, coiling around sources, to be sure. Lynn Conover and Little Sue Weaver bring a sense one’s ear like a vine of blood red roses Hayes It’s an interesting and entertaining blend of of energetic playfulness to their repertoire that launches a magnifi cent slide guitar solo in the country, folk and blues that the girls throw down- elevates it above the mundane to the level of a live middle, before the band returns to the gorgeous fun, unpretentious, slightly mannered (with a little, performance. This is an eclectic set, which shines chorus. A hit song, to be sure. hick guh-hyuck accent fl oatin’ ‘neath the sir-fuss), with uncluttered, unfettered delight. The melodic essence of Brian Wilson is evoked through the fi rst part of the ghostly ballad, “Good “This is all O Brother Where Art Thou? sort of stuff, Enough,” as ethereal effects swirl around Curl’s poignant rendering of the lyric. Hayes’ orchestral played in a style reminiscent of long ago days that ministrations on guitar mingle with Curl’s piano- probably never existed. But there it is. Lynn Conover like keyboard phrasings to create a shimmering aural collage. A beautiful little fugue ends the song and Little Sue Weaver bring a sense of energetic on a high note. “James Was Here” could easily refer playfulness to their repertoire that elevates it above to the band James (as that is one of Jonah’s stated infl uences), a breathless up tempo ballad, with the mundane to the level of a live performance.” angelic three-part vocal harmonies hovering in the verses, while an array of guitars, electric and most likely in a wry attempt at authenticity. What- acoustic, six and twelve-strings, fl utter like electric ever the case, their music sounds pretty authentic, Safe Distance EP - Jonah butterfl ies throughout the mix. so apparently they have succeeded. Self-Produced. “All That Remains” could easily be from “The L&N,” written by Kentucky folk music Mintz and Long are currently shopping the Bends-era Radiohead as well, with Henry doing legend Jean Ritchie, is a simple, forthright chunk band around to the major labels; and arranged for his very best Thom Yorke impersonation. Over of bluegrass coal, forged into a diamond through two August showcase performances at the Knitting arching piano chords, he swoops and soars the child-like delivery of the vocals and the forlorn Factory in Los Angeles. This EP was created to serve operatically, with deep emotional conviction and contours of the harmonies. The familiar plaintive as a promotional tool, giving prospective producers expansive vocal opulence, as Hayes adds mandolin- country blues of “New River Blues” features guitar the opportunity to hear what the band sounds like like guitar accompaniment. Another fi nely crafted and banjo accompaniment, with a fi ne single string today. Though, Save The Swimmer, the band’s last number. banjo solo in the middle. Very nice. release, met with widespread critical response, with The verdict in these pages a year and a half Probably an original tune (though whose, tracks even fi nding their way into several episodes ago, was that Jonah had a little bit of work to do we can’t be entirely sure), “Living In The Clouds” is kind of a McGarrigle sisters sort of song, with “The verdict in these pages a year and a half ago, chiming mandolin playing against a throaty acous- tic guitars. An odd little song “She better shake it was that Jonah had a little bit of work to do in the off soon/That old monkey moon/Well she’s in a songwriting department. Whatever shortcomings trance, called the monkey dance/and it’s keeping her awake in the light of day.” Hmmm. perceived in their last outing, have been impressively Playing off of a highly recognizable D major to shorn up. There is not a bad song, nor a bad measure D minor chord turn, “Sweet & Tender” is a simple song with banjo, guitar and mandolin backing. or even a bad note on this submission.” “Bullfrog Blues” is actually a variation of “Mobile Line” a traditional blues number (the proper title of Dawson’s Creek, it was recorded almost two years in the songwriting department. Whatever short- of which, according to Peter Stampfel, is: “Mobile ago. The band has tightened considerably in the comings perceived in their last outing, have been Line Gonna Carry Me Away from the Curse of the intervening time. impressively shorn up. There is not a bad song, Bullfrog Blues.”), popularized by the Holy Modal If anything, vocalist and chief songwriter nor a bad measure or even a bad note on this Rounders (for one) around 1968. “Sing It Again” Henry Curl’s emotive vocals have become even submission. is a gently lilting little waltz with further child-like stronger and more expressive. Sounding like Freddy The fi ve-songs the band offer here are simply vocals and sweet harmonies “Words” is a touch- Mercury fronting Bends-period Radiohead, Curl perfect. Jonah are a band that have offi cially out- ing country-fl avored ballad, with a pretty melody, imbues “Tremor #7” with explosive vocal restraint. grown Portland and Oregon. Their sound is world reminiscent of Mary McCaslin. Beginning the song with a sort of megaphone effect class and deserves to be heard by the whole world The duo’s rendition of Dylan’s “Buckets Of on his voice (ala Queen), as a marimba-toned and not by just the pitiful few people around here rain” is fairly faithful, but emphasizes the country keyboard arpeggiates hypnotically atop drummer who care anymore about such things as a great band aspects of the song. The title track, with acoustic Jake Endicott’s pulsing kick and snare, Curl breaks in their midst. For, this is truly a great band! guitar and ringing mandolin, calls to mind the free of the vocal constraints in the second section, Roche sisters in its slightly off-kilter poignancy. as bassist Matt Rogers and guitarist Chris Hayes Their take on Freakwater’s 1992 nugget “Old thunder in like all hell is breaking loose. Equal to Continued on page 12
Page 10 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 11 Bittersweet - Dylan Thomas Vance Triple M Records his guy Dylan Thomas Vance is a quick study. In February, This record Cowboy Soul And Country Blues Vol. 1, was reviewed in these pages- sounding like a young Kelly Joe Phelps. Here, he has burst from his embryonic shell, fully formed, as a musical monster completely unto himself; the depth and complexity of which have only slightly been touched upon thus far. Vance served his apprentice years in the local scene in the early ‘90s, with the phenomenal grunge jazz band, Tao Jones, a group which also featured the sterling vocal gymnastics of Leah Welch. Subsequently, an encounter with the Leroy Vinegar Quartet, led Dylan to pursue an interest in Jazz. He majored in music at PSU; studying with some masterful players, including Jerry Hahn, Darrel Grant and John Stowell At the same time, he played guitar with the Sweet Honey Dijon Bad Ass Jazz Quartet, which frequently appeared at Club 1201 and Jimmy Mak’s. Later he performed in the jazz fusion band, Groove Revelation. But, having a guitar slide specially made for him piqued Vance’s curiosity in a variety of blues styles. Soon he was singing western swing and country blues numbers, his set list including songs by Hank Williams, Otis Red- ding and Robert Johnson, hence his release last February, a solo venture for which he intends to one day record a sequel. For this outing however, Vance enlisted the services of a small coterie of side play- ers to help fi ll out the sound; including one Griz Bear (owner of the Bear’s Den Studio, who also acted as engineer) on violin, Matt Rotchford on upright bass and David Lipkind on harmonica- all of whom add texture and color to the eleven songs (fi ve are originals)
Continued on page 27
Page 10 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 11 Continued from page 11 presented here. Still, what is most noticeable is Vance’s huge strides as an individual performer. While eight months ago he seemed to be sit- ting in Kelly Jo Phelps’ shadow, musically speaking; today Dylan is a true rising star in his own right, rapidly developing with astounding brevity and concision, his own highly individualized guitar style and unique vocal delivery, evidence of which is everywhere to be found here. A strange lyric, “Silence” is a social commen- tary type of song disguised as a “wandering boy” ballad. Vance’s nimble fi nger picking and Bear’s rapturous fi ddle work add depth to the perfor- mance. “George & Sarah” is a straight-forward narrative somewhat akin to John Mellancamp’s “Jack and Suzanne,” (without the latter’s strong chorus) played over a repetitive motif, reminiscent of a portion of Paul McCartney‘s “Blackbird.” On his previous album, Dylan proved him- self an exceptional interpreter of Robert Johnson’s material, and his rendition of “Come On In My Kitchen” here is no exception. Tasty acoustic slide guitar runs are augmented by Lipkind’s soulful harmonica interjections (and fi ne solo), which compliment the arrangement rather than intrud- ing upon it: as so many harp players are wont to do. Vance’s version of Bob Dylan’s “Buckets Of Rain” (perhaps a requisite in order to join some secret local folk society?) is more subdued, less raucous than the original, with Lipkind adding organ-like double reed harp to the production. Griz Bear’s hearty fi ddle is the support on the jaunty “Fine Spring Day,” with Dylan’s slide gliding ever so softly on the guitar strings, as an overdubbed choir of harmony vocals hovers above the scene. The fi nal 30 seconds, a sloppily whistled circus tune with beer-bottle calliope accompani- ment is a magical fragment to behold! Vance and Bear pair again on a variation of the gospel spiritual “I Shall Not Be Moved,” written by Homer Morris, with additional lyrics supplied by Vance. It’s a fast moving version, propelled by Dylan’s seemingly effortless slide guitar work. Bass- ist Rotchford joins Bear and Vance on the rousing original spiritual entitled “Rat Race,” which eventu- ally evolves into “Rollin’ In My Sweet Baby’s Arms,” from which the former had been derived in the fi rst place. Lipkind rejoins Dylan for the gentle “Where Are You Going,” lending a crisp solo. Vance’s fi ngers dance upon the guitar strings on the traditional “The Wreck Of No.9,” with Lip- kind jumping in for the occasional solo. “Did You Ever” is the kind of lonesome old ballad Jerry Jeff Walker or Townes Van Zandt might sing. Vance’s stellar guitar work adds decorous fi ligree to the sparse arrangement. Continued on page 12
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Wymer(503)760-3918 Compellor stereo compressor/leveler. Sportscenter (espn), True Hollywood The distraction-free environment is Rates: New Band Demo special * 5 hrs Ax Type C exciter. Lexicon JAM man Story (E!), Wild On (E!) Celebrity especially conducive to creativity. Due for a hundred bucks*$30 hr additional DDL/sampler/looper MIDI setup with Profile (E!); to the acoustically accurate control time. Roland D550, R-8M, Korg M1REX,. Syndicated TV: Extra, Access Hol- room and PMC monitors, Crossroads Use our Pro Tools or Roland Korg 800EX, Emu Proteus 2, OB lywood, National Enquirer, The Riki has also become a favorite Mastering Mackie setups. 24+tracks. Sweet Mics Matrix 1000, Yamaha TX81Z. Lake Show; facility used by other local studios. & Outboard Gear. Use our engineers or Partial list of labels & artists: Windham Commercials: Jolly Rancher, Coors Clients: Wayne Krantz, Bobby Torres, bring your own. Triton 88 workstation/ Hill, Narada, Sugar Hill, Hearts of Light, Gary Ogan, Jon Koonce, Anne Weiss, sampler. Roland Vdrums. Fender Space, Green Linnet, Nightnoise, John Whatever your needs, Ronn Chick Brett Williams, One Shot, Sky View HS, Cybertwin. Doan, Alasdair Fraser, Kevin Burke, Recording is a full service facility Prairie HS, Woodland HS. Martin Hayes, Hanuman, Johnny capable of providing demo recording, Big Red Studio Connolly, Alan Jones, Portland Acoustic orignal composition, digital Dave’s Attic Productions Corbett, Oregon Guitar Summit, Dave Carter/Tracy editing, and post production assistance Washington Square Area Producer/engineer: Billy Oskay Grammer, N’ Touch Band, Rhythm for all your needs quickly Portland, OR 2nd Engineer: Jordan Kolton Culture, Sugar Beets, Tom May, Jim and affordably.Please call for rates. web site: www.bigredstudio.com Page, Gino Vanelli, Chris Lee/Colleen (503) 768-9336 Owner: David Fleschner e-mail: [email protected] Obrien, Cold Mountain, Steve Pile, Crossroads Productions phone: (503) 695-3420 Taarka, Everything’s Jake, Beppe Gam- 7708 NE 78th St. Dead Aunt Thelma’s Studio Unique package rates and financing of betta, Dan Crary, Belinda Underwood Vancouver, WA 98662-3632 PO Box 82222 projects. with David Friesen and Airto. (360) 256-9077 Portland, OR 97282-0222 Facilities: 18 X 28’ performance space Web: www.crossroadsproductions.net (503) 235-9693 p which can be divided for isolation. Ceil- Blue Dog Recording Email: [email protected] (503)238-9627 f ings vaulted to 17’. 1314 NW Irving Studio Manager: Ron Stephens Web: www.thelmas.com Yamaha C7D grand piano, C Fox Portland, OR 97209 Studio Assistant: Danielle Jenkins Studio Manager: Mike Moore Napa acoustic guitar, and 1902 Estey (503) 295-2712 Engineers: Paul Ehrlich, Craig Smith Office Manager: Nicole Campbell harmonium. Email:[email protected] Tracks: ProTools HD 192 w/24 I/O and Owners: OCP Publications 17’ X 24’ control room Isolated Web:www.bluedogrecording.com lots of plug-ins; Otari 2” 24 and 3M machine room Coffee bar/Lounge area. Owner: Bruce Robertson 1/2” 2 trk. DeFunk Audio/Sonare Mastering Available organic catering. Horseshoes, Equipment: Neve 5315 console; 4531 N. Albina Street campsites, fire circle and hiking trails Ronn Chick Recording Focusrite, API, Manley and Altec mic Portland, Oregon 97217 on property. Sight-seeing, fishing, 1209 NW 86th Circle pres; URIE, Spectra Sonics and Smart (503) 288-3353 restaurants, and lodging nearby. Vancouver, Washington 98665 Research limiters; AKG, ATM, CAD, EV, Email: [email protected] Equipment: Otari MTR 90II 2” 24- (360) 571-0200 Microtech-Gefell, Oktava, Rode, Tracy- Owner/Engineer: Sean Gilbert Track with autolocator, Fostex 22 1/2” Owner/Engineer: Ron Chick Korby, Shure, Soundelux mics; Lexicon at 30 ips 2 track, Mac G4, Pro Tools, Equipment list: Recording: 48 input 960L, Eventide, and TC Electronics Doctor Digital; The Sync Ward Studios Digital Performer, Otari MX5050 1/4” amek angela,Mac G4 daul 850,Digital effects. PMC and Yamaha monitors. Portland, OR 2 track, Panasonic sv 3700 DAT Naka- performer 3.1 24 bit 5.1 ready,16 chan- Call or write for exhaustive equipment (503) 892-0043, 1-888-373-4485 michi MR1, Tascam 2000 CD-RW. nels Alesis adat. list. Email: [email protected] From England, hand wired Trident Monitors: Mackie. Instruments: Yamaha C5 grand w/ Owner: Mark Frethem TSM 40 input, 32 monitor, 24 bus. The Outboard gear: Avalon.Focusrite,Cra Gulbransen midi mod; B3 w/ 122 sound is big, warm and very analog. nesong, Symetrix, Urie/JBL, Lexicon, Leslie; Pearl and Slingerland drums; Don Ross Productions Monitors: Audix Nile V, JBL, Yamaha Roland, Sony, TC electronics. Vox AC-30, Gibson GoldTone, Rivera, 3097 Floral Hill Drive NS10s, Auritone and AKG, powered by Mics: AKG, Audio Technica, Shure, Line 6 guitar/bass amps. Too many Eugene, OR 97403 Hafler, Parasound and Oz Audio. Octavia. synths and MIDI tone modules to list. (541) 343-2692 Fax: (541) 683-1943 Microphones: Neumann U87s, 47s, Client list:Network TV: Dark Angel Notes: Designed by Russ Berger, and Email: [email protected] 49s, KM 88s, U 69s, KM 84s , custom (wb)the Young And The Restless (Cbs), built to his exacting specifications, modified by Klaus Heyne Classic Nfl Under The Helmet(fox), The Crossroads Productions is the area’s Continued on page 14
Page 12 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 13 Portland, OR 97223 (503) 236-3856 Falcon Recording Studios Fax: (503) 236-0266 Email: [email protected] Contact: Dennis Carter.
Freq. Mastering 1624 SW. ALDER #311 Continued from page 13 PDX, OR. 97205 www.donrossproductions.com (503) 222.9444 The leader of Rock, Jazz, Funk, Big Band and Owner/Engineer: Don Ross Web: www.freqmastering.com Classical recording in Portland, Oregon since 1981. Tracks: 32 track Digital, 24 track Analog Portland’s Pro Mastering Studio Rates: $70.00-$85.00 Contact: Ryan Foster Equipment: Otari MTR90 II 24 track Equipment: Sadie Artemis 24/96 503-236-3856 2‰ Analog, Digidesign Pro Tools Mix Mastering System, DCS904 24 bit A/D www.FalconRecordingStudios.com + w/ 3-888 24 I/O’s, SSD, Waves gold & DCS954 24bit D/A both 192KHZ & bundle, Bomb Factory, Meek & many DSD capable, Apogee1000 A/D & D/A, other plug ins, 24 trk. Tascam DA-88’s- Cranesong Hedd 24 bit A/D &D/A , mods by Audio Upgrades w/RC 848, GML 9500 5 band Mastering EQ, Weiss SY88 & IF88AE, Tascam DA30 MkII, EQ1 MK2 digital 7 band parametric, Fostex D-10 Time code DAT,Tascam Manley Vari-mu stereo compressor, CD-RW5000 CD recorder, Revox PR-99 Weiss DS1 digital split band dynamics MkII & B77 1/2 track analogs; Tascam processor, Maselec stereo compressor, M-3700 32x8 automated console Genelec monitors, Mike Spitz ATR 100 w/mods by Audio Upgrades; Genelec 1/2” Mastering deck, Tascam DA 45R 24 1031,Tannoy NFM 8, Yamaha NS-10, bit Dat Machine, Panasonic 3800 Dat & Auratone 5C monitors; Aiwa, & machine, Dennon cd player, Dennon Tascam cassette decks; Lexicon PCM cassette decks, Mytek digital Mastering 80, TC M2000 LXP-1’s, LXP-5’s w/MRC meter, Z-Systems 16 i/o digital router. & Yamaha SPX90’s reverb/delays; Clients: Sony, Loosegrove, Sub Pop, Manley ELOP, Manley Vari-Mu, Aphex Astralwerks, FT Records, Resistor, 661’s,106, & 720 Dominator II, Draw- Shortwave Records, Estrus, Elemental, mer DL24, Ashly SC-50 comp/limit- T/K Records, Top Secret, Darla, Rain ers; BSS DPR-504 & Aphex 105 Noise Records, Burnside Records, Jus’ Family Gates; Aphex Aural Exciter, Aphex 109 Records, Bombay Records, M.A.H. & Symetrix SX201 parametric EQ’s; Records, Empty Records, Dohnut Avalon 737SP’s, Millennia HV-3C, Records, Rainforest Records, Cool Neve 1272’s (4), Peavy VMP-2, Gaines Nutz, Satan’s Pilgrims, Jesus Presley, MP-2 mic pre’s. Mic’s: Neumann U87’s Silkenseed, Chata Addy, Gino Vanelli, (mods by Klaus Heyne), KM84’s(mods Land of the Blind, Ken De Rouchie by Kaus Heyne), Lawson L-47MP tube, Band, Hungry Mob, Life Savas, Live at AKG 460’s, 451’s, Sennheiser MD 421, Laurelthirst, Izaya, Heavy Johnson Trio, EV RE20, 408B’s, Shure SM7’s, SM53’s, Daylights, Hummingfi sh, Kerosene & 57’s. Other Important Stuff: 1927 Dream, Loveload, Jollymon, Gus Van Steinway M grand piano, Kurzweil Sant, Systemwide, Grindstone,Floater, PC88 MX, Ensoniq EPS, Opcode Studio Countrypolitans, Here Comes Every- 3, JL Cooper PPS-100, dk10 KAT, Alesis body, Mel, E-40, Sally Harmon, Rattling D4, Pre CBS Fender Super Reverb, Thunder, Dickel Bros, D.B.A., Ras Kass, Zoom 9050, JVC CR-85OU 3/4” video Kurrupt, B-Legit and many, many, deck w/SMPTE address trk., Sony more.(Please check out our website for video monitors 13” & 20”, Fostex 4010 a more complete list). SMPTE, Symetrix TI-101 phone patch, Telos Zepher ISDN patch & a Braun 10 Fresh Tracks Studio cup coffee maker. 1813 S.E. 59th Clients: Sony, Disney, PBS, Mason Portland, OR 97215 Williams, Beth Singer, Justin King, (503) 235-7402 Sugar Beets, Paul Chasman, Byron Email: [email protected] Berline, Strangers, Multiple Sarcasm, Web: http://www.freshtracksstudo.com Betmars, Babe’s with Axes, Terry Robb, Owners: Jon Lindahl David Jacobs-Strain, T.R. Kelley, Debbie Engineers: Jon Lindahl and Casey Spain Diedrich, Boogie Patrol, Tracy Bonham Tracks: 32, 24, 16, & 8 ( 24 tracks hard & many more-check out web site music disk) 16 tracks of digital & 16 tracks of client list at www.donrossproduction analog) s.com. Rates: $40 for 32 track, $35 for 24 track, 2 inch 16 track , 1/2 &1/4 inch 2track $30 for 16 track, & $25 for 8track. Falcon Recording Studios Equipment: 2 each XT Alesis ADATS, 15A S.E. 15th Analog 1” MS-16, Hard Disc, Cubase w/ +NEW 24 track digital hard drive Mark of the Unicorn 2408 (Multi Track
Page 14 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 15 recorder/automation/remastering), Microphones; Neumann U48 tube mic, All synced via JL Cooper Syncron- (2) Neumann KM 84, (2) izer, Pansonic CD Burner, 24x8x2 AKG 414 ULS, (2) AKG 460, AKG Soundcraft Mixing Console, ART MPA D112, (6) Shure SM 57, (4) dual tube mic pre-amp,DBX 266 Dual Sennheiser 421, Beyer M260 Ribbon, Compresor/Gate,DBX, 160x, DBX 163x Shure 55s. Tape Machines; Compressor, Dbx163 Compressor, Panasonic SV3700 DAT, Tascam 48-B Biamp Quad Limiter/Gate, DBX 463x 1/2” 8 Track Recorder, (2) Gate, Yamaha 31-band EQ, Biamp Dual Tascam DA88, Tascam 122MKII cas- 10-band EQ, Rockman Guitar preamp, sette deck. Effects; Lexicon Rockman Stereo Delay/Chorus, Roland PCM 42, Yamaha SPX 900, Yamaha SPX SRV Reverb, Roland SDE 1000 Delay, 90, SONY MPS, Art SGE Mach 2 Effects Processor, Huges Sound Retrieval System. Misc: 8 Alesis Midi Verb, BBE 802 Exciter,JBL Channels of API 550A 4311 Monitors, Auratone Monitors, EQ‚s, (2) Neve split Mic Pre/EQ, V/T KLH Monitors, Panasonic 3700 Master- Tube DI. Amplifiers; Ampeg ing Machine, Otari Analog 1/2 Track Portaflex B-15 bass amp, 60’s black face Mastering machine; wide selection Fender Pro - Reverb, of mics: (AKG, RODE, SENHEISER, 1973 Marshall JMP head with 60’s Cab, E.V., SHURE, BYER, AUDIO TECH- Vox Royal Guardsman, NICA) MIDI EQUIPMENT: Mac Vintage Supro Guitar amp. Monitors: G-4 w/CUBASE VST 32 5.1 Proteus 1 Yamaha NS-10 Studio. Sound Module, Yamaha TG100 Sound Clients: Wilco, Skiploader, Desert City Module, Zoom RT -123 , ESQ-1 Soundtrack, 30.06, Eric Keyboard, Casio Midi Guitar Mathews, Pond, Adam Wade, Scribble, Clients: Vivian’s Keeper, LaRai, Fran Slackjaw, Suplex, Woke Gray, Brock Noyes, Genevieve Goodell, Up Falling, Avenue of The Strongest, John Myers, John Hoffman, David Pedro Luz, Andi Camp, Jen Graham, Poison Okies, Jonathan Wood, Trophy Wife, Gruesome Galore, Berman, Al Pasque, Marc Hansen, Tommy Tutone, Everclear, Audio Sidekicks, Little Joe, Cory Brunish, Dixie Learning Center, Mel, Petal, Intifada, Party Jazz Band, Bill Deiz, Enuf, Chris Flophouse Palace, Loligo, The Reports, Harris, Kevin Johnson, Al Pasche, John The Kremlin Bronx. Skank, Savy, Ken Vigil, The Worthing- tons, Les Ouvier du Christ, and Christine Intersect Sound, Inc. Young. Portland, Oregon 503-649-7741 Gung Ho Studios E-mail: [email protected] 86821 McMorott Lane Web: www.geocities.com/ Eugene, Oregon 97402 intersectsound (541) 484-9352 Owner/Engineer: Bill M. Cushman Owner: Bill Barnett Intersect Sound Inc. specializes in PA System Rentals for festivals, small bars Haywire Recording & clubs, civic functions, church & com- Southeast Portland munity events, private parties & dances, P.O. Box 66381 PDX OR 97290 & DJ shows. 503-775-7795 ISI also provides live sound production, Email: [email protected] recording and mastering with post- Web: http:// production and studio work. www.haywirerecording.com Sound Engineers are available. Engineers: Robert Bartleson Rates: PA System rentals go out as a Tracks: 8/16/24 tracks, Analog or unit, engineer included—see website or, Digital contact [email protected] or Services: Live & Remote Recording, phone 503.649-7741 anytime for voice Free-Lance, Engineering and mail. Or between 1:00 pm and 6.30 Producing, In-house Studio Recording, p.m. to speak to a person. CD Mastering For Live Sound recording: 1-2 Alesis Specialties: Remote Recording & Adats are available. The tracks are then Producing mixed down and mastered to DAT. The Rates: Live & Remote recordings: indi- turnaround time is usually two weeks vidual quotes; 24-track and the cost starts at $200.00 for the recording: $25/hr or ask about block whole package. I also do studio work rates. Freelance engineering (subject to availability) at the rate of $25/hr + studio costs. $20.00 per hour. Equipment: Compressors; GML 8900 Equipment: For PA System Rentals: For stereo peak limiter, Urei 1176 example PA system “A” consists of the compressor/limiter, (3) DBX 160x compressor/limiters. Continued on page 18
Page 14 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 15 Last band standing… three stars with Christian Hoard noting the sixth Rolling Stone’s Rob Sheffi eld (10/30) says album “…feels as much like a hidden indie pop Guitarists Carrie Brownstein and Corin Tucker gem as its predecessors. Coomes bangs his piano, and drummer Janet Weiss of the Portland act tortures his guitar and sings in a cracked indie Sleater-Kinney may not only be the best female wail, while Weiss keeps the backbeat steady and punk band, “They may be America’s best punks varied and chips in some more soothing vocals. period.” Somehow the whole thing remains shambolically “When Sleater-Kinney started in 1994, there tuneful and engaging.” was room for creative expression in the commercial Shambolically rocks… end of the rock business. Needless to say, now is not such a time.” NNN “Women rock stars have been phased out, Reality check is in the mail. and the current biz isn’t friendly to either indie David Bowie delivers in his (10/2) Rolling bands or woman power. Most of the other Nine- Stone interview. Promoting his twenty-sixth album ties revolutionaries- Nirvana, Bikini Kill, Hole, and current worldwide “Reality” tour. the Breeders-imploded, burned out or faded Ziggy took the softball music Q & A. away years ago. Sleater-Kinney has never had a RS: “What musicians impress you the most hit, but for a devoted audience, especially what’s now?” left of the underground, they are more than just DB: “Beck is tremendous, the chances he the best. They are the last band standing.” takes. And I feel that when Trent Reznor produces What’s the secret to the trio’s longevity? his next piece, it will be really magnifi cent. The Couples Therapy. Dandy Warhols – they’ve got to be the funniest “Not a very punk rock thing to do, is it?” band around. Courtney Taylor has me in a fi t asks RS. from the moment he opens his mouth. When he “If the Clash had gone to a counselor, they walks into the room, I just want to put my beads could have made some more great records. But, on, you know? you know no guy band is gonna go to counseling. Sounds like they’ll get along just fi ne on the No way! You have to be totally earth-mama, like bus. us. Peppermint tea and counseling!” sez Corin David and the Dandies are zooming across Tucker. Europe at this very moment scheduled for dates in the Netherlands, Germany, France, Italy, Switzer- NNN land, Austria and the UK. They wind up with two Steamin’ feces… nights in London’s Wembly Stadium November If therapy fails Janet Weiss will still have a 25-26. hot gig. The new DW Capitol album “Welcome To Entertainment Weekly (9/19) gives the new The Monkey House” remains near the top of the Quasi album “Hot Shit” on Touch and Go Records, CMJ charts and hangs on Billboard’s Heatseekers the thumbs-up. chart at #44 (10/11) after 6 weeks on. Courtney and “This Portland, Ore., duo was doing the two- the band used a week off the road in Portland to piece divorce-rock thing before the White Stripes shoot and edit the video for the next single “Plan made it MTV News-worthy. On their sixth CD, A”, which debuted in the United Kingdom. multi-instrumentalist Sam Coomes’ wounded falsetto and Sleater-Kinney thumper Janet Weiss NNN punk insistence surge confi dently…” Kabuki rock still rules… EW’s Laura Sinagra liked the whole According to Rolling Stone (10/30) the Kiss/ vibe. Aerosmith tour has “become the year’s biggest “Its moodiness is bolstered by Beatlesque non-stadium tour” shimmer, orchestral swell, and warm electronic Former Movie Star and Black-n-Blue guitar- blurt.” ist Tommy Thayer is settling in and getting used Electronic blurt rocks…. to the perks of big time rock-n-roll stardom like Kiss guitarist Tommy Thayer and Gibson Guitars President Henry Juszkiewicz. Rolling Stone (10/2) gave the Quasi effort the visit backstage from the president of Gibson
Page 16 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 17 Guitars Henry Juszkiewicz, bearing gifts. It pays gage and waved us off at the curb. We spent days to play a Paul… staying up late, getting up early, deep sea fi shing, Reviewing the tour’s stop in Englewood, shooting skeet off the back of the boat and talking Colorado RS observed, “Kiss made no attempt to signal processing and sound reinforcement. inhabit Aerosmith’s planet. While one-time Kiss As we were leaving Big Pink, the driver tribute-band guitarist Tommy Thayer stood in for backed up the Caddy with the door open and Ace Frehley, the quartet continued in post-Nine- hit the carport springing the door. We made the ties-reunion mode-old hits, whiteface makeup, 5-hour drive to San Antonio roarin’ up the road, platform boots and too-tight spandex pants.” a candy apple red spectacle with the driver’s door The Thayer family traveled from Beaverton hanging wide open. to the White River Amphitheater to see Tommy’s Ya-hoo! Texas cowboy style… “Spaceman” persona in action. They joined a large Mister Gibbons became a familiar visitor to group backstage that had paid a thousand dollars the northeast Portland basement studio that would a person to meet the band. become the Two Louies mansion. The ZZ Top bus Marketing… parked in front of the house attracted lunch hour crowds from Grant High School, a block away. One NNN year, while bunking in the guest room, Billy noticed You stay with who brung ya… a vintage 1960 Rambler for sale across the street. What in the heck is a Texas band doing on the He walked over and bought it, rented a trailer and cover of Oregon’s music magazine anyway? Those towed it back to L.A. behind the ZZ bus. About of you who have followed the quarter-century of three months later I got an invitation to attend Two Louies original music coverage know ZZ Top the Hollywood introduction of the “Little Willy has been a friend to Oregon’s music business before 4X4”, an all-terrain, jacked-up, monster-tire vehicle it became a business. addition to the ZZ Top fl eet. ZZ always makes Portland a special stop on I met ZZ back in the day... the tour and Gibbons has developed relationships Jimi Hendrix was on the road in Texas and with some of the city’s best guitarists, often pro- I joined him to replace some Sunn amplifi ers. He moting them in the national media. Over the years suggested that instead of shipping the old ones he spent numerous evenings running up the limo all the way back to Oregon we give them to this bill checking out Jim Mesi and the Paul deLay hot young guitarist in his opening act, Moving band. He met them early on at the Fat Little Rooster Sidewalks. on Hawthorne, schmoozing Mesi for years with talk A kid named Billy Gibbons. of a ZZ Tour opening slot. He loved studying the Billy was happy for the help and reckoned supple technique of Terry Robb (“The Master of if Portland could produce Jimi’s amplifi ers and a the Stratocaster”) at the White Eagle. Billy Gibbons monster hit like “Louie Louie” it must be a pretty knows the track records and legendary characters serious rock-n-roll music town. of the Portland original music community. He Five years later, working for Gibson I ran into partied with Jon Koonce and met Billy Rancher Billy again. and sent two-dozen ZZ Top golf caps to the Oregon ZZ Top was breaking out of Texas. Rock Allstars softball team. He fl ew in to go stur- Bad, and nationwide. geon fi shing on the Columbia River with Columbia Billy was making a vintage Les Paul famous Records rock icon Buzz Clifford. and was one of the players nominated to Gibson’s And every couple of years he puts out another newly organized Hall of Fame. Our new relation- great record. ship called for frequent corporate consultations, ZZ survived the recent shakeup at BMG and back and forth across the country. Billy invited the new RCA album “Mescalero” on the charts. me to his Brownsville, Texas fi shing house “Big The band has been on the road since April with Ted Pink”, picking us up at the airport in a restored Nugent and the “Beer Drinkers & Hellraisers Tour”, candy apple red ‘56 Caddy convertible. He handed and played one of the last dates September 19th at us our carefully creased cowboy hats as we got off the new Clark County Amphitheater in Vancouver Kiss guitarist Tommy Thayer and Gibson Guitars President Henry Juszkiewicz. Photo: Jack Dean in front of ten thousand appreciative fans. Billing the plane. Two lovely “cowgirls” claimed our lug- Continued on page 28
Page 16 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 17 VLA Tube Leveling Amp, ART Tube MP, ART Quadra/FX, ART 355 Dual 31 band EQ, Avalon U5 DI, Deltalabs AcoustiComputer, Hughes & Kettner Tubeman DI, Line 6 Bass POD, Preson- ous Digimax, Various Stompboxes, Waves Gold (all), Bombfactory (all), McDSP (all), Anteres Autotune, Digi- Continued from page 15 Design RTAS (all), GRM Tools (all), following: Console: Soundcraft Spirit Metric Halo Channelstrip, Duy (all), 16x4: Signal processing: Yamaha Rev-7, T-Racks, Focusrite RTAS (all), Kind of Midiverb 3, BBE sonic maximizer 322, Loud Realverb, Raygun, Serato Pitch Aphex aural exiter type B, 2 Alesis 3630 and Time and more. dual compressor/gates, JBl m644 4 Mics: AKG D112, AKG D12E, Audio channel gate, DBX 1231 dual 31 band Technica 4033sm, Audix D1, Audix D2 1/3rd octave eq, 2 Alesis Meq 230 dual (2), Audix D4, ElectroVoice 627b, Elec- 31 band octave eq, Fender pcn-4 stereo troVoice N/d 767a, Groove Tube 6tm 3 way cross-over. Speakers: 2 JBL active (tube mic), Modifi ed Large Condensor mid-hi packs, (l 15” & 1 2”: driver with Mic (2), Shure SM57(3), Shure Uni- 1” horn each) 2 JBL active subs, (2 15’s, sphere PE56D-CN, Superlux CM-H8D front fi ring & ported each), 4 fl oor (tube mic). wedge monitors, (1 15” & 1 2” driver Instruments: Tama Starclassic Per- with 1” horn each), 1 Yamaha drum fi ll, former Drumset, Roland TD-7KE (1 15” & 1 “ driver with 2” CD horn), Electronic Drumset, Various Percus- Microphones: 4 Shure sm 58, 6 Shure sion (congas, bongos, and whatnot), sm57, 4 Audio technica pro 10, 1 Audio Musicman Stingray Bass, Alesis QS6 technica pro 25, 1 Shure beta 58. Amps Keyboard, Rhodes Mark II 73, Marshall used include: Crest, Crown, Yamaha, Lead 12, ART 80/80 Head, Marshall SLM-RMA series & Yorkville AP series. JCM 900 4x12 Cabinet, Crown Acoustic (depending on system confi guration 12 String, Gilbert Baby Grand Piano. and power demands) Miscellaneous: Clients: Sarah Blaisedale, Cascade Blues 4 ISI di boxes 1, Lawrence accoustic Association, Crosstide, Delivery, John guitar pickup, Fender m-80 pro guitar Densmore, Doyal Tankington, Laura amp w/4-12” cabinet, Big muff II Dis- Duzette, Bryan Free, Jefferson Institute, tortion Pedal, MXR distortion pedal, Kinzel & Hyde, Christopher Marshall, Digitech “talker” voice-synth pedal. Wayne Meichsner, Mindset, Mute, Clients include: Dfi ve9, Hell Candi- Mykel, Nice Richard, Tom Noeson, dates, Jen Lane of Barfl y Magazine, Til- Oliver, Postal, Random Electronica, lamook County Fair in association with Regenerator, Saturday Night Jazz Band, Starshine Sound, Rorschach Test, Stage Screamin Willies Dixieland Band, Stela, Phryte, The Natrons, Witch Mountain West of Zero, and more. and many other locals. Other: Bill Cushman is House Engineer Jackpot! Recording Studio THE ROAD OF LIFE at Club Satyricon and he invites you 1925 SE Morrison to come in and say hello. As owner of Portland, OR 97293 A CD BY CHRIS CHARLES Intersect Sound, he guarantees reason- (503) 239-5389 able rates, professional service and well [email protected] AVAILABLE NOW AT maintained gear—delivered, opera- www.tapeop.com Owner: Larry Crane WWW.CDBABY.COM/CHRISCHARLES tional and on time! Interlace Audio Production J.A.S. Recording 457 NE Birchwood Dr. P.O. Box 884 Hillsboro, OR 97124 Beaverton, OR 97075 After It’s Recorded 503-681-7619 (503) 274-2833 Email: [email protected] Owner: Andy Strike Get the Cover Made Website: http://www.interlaceaudio.co mOwner: Bob Crummett KAOS Recording, Mastering & CDR Contact: Kris Crummett Duplication Engineers: Bob Crummett and Kris Portland, OR Crummett (503) 287-5066 Rates: $25 an hour. Owner: John Belluzz Tracks: 64+ track Protools, 16 track adats, 2 track Dat. Lemon Studios and Walter Midi Equipment: Digidesign Protools HD1, www.lemonstudios.com 503/282-1682 Alesis Adat XT, Alesis Adat XT20, Sony 1424 SE 162 Portland OR 97233 PCM-R300 Dat, Mackie 24/8 Console, (503) 761-0964 www.buko.net Mackie HR824 Monitors, ART Pro Jon Lemon - Owner and Chief Engi- neer
Page 18 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 19 Email me at: recordingstud@lemonstud 888/24 24 bit AD/DA converter, Waves: ios.com
Page 18 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 19 (503) 760-7777 Fax: (503) 760-4342 Owners: Scott James Hybl, Curt Cass- ingham
On Site Audio A Diamond “Z” Records Company 16016 Lower Boones Ferry Road, Suite 5 Continued from page 19 Lake Oswego, Oregon 97035 (503) 675-1670 HDR software (running on a 1.0 GHz (503) 635-7335 Fax# Intel PIII with 512 megs of ram and Email: [email protected] 80 gigs of storage), Dual Creamw@re Contact: Steve Landsberg Pulsar 96/24 DSP, Synthesis/Mixing platform (too many other audio pro- Opal Studio grams to list) , Outboard: True Systems 6219 S.E. Powell ‘Precision 8’ eight channel mic preamp, Portland, OR. 97206 Lexicon MPX-1 multieffects processer, 503-774-4310 ART Pro MPA tube mic pre, ART Pro 503-777-5214 fax VLA optical tube compressor, DBX Email: [email protected] 1066 stereo compressor/limiter/gate, Web: www.opal-studio.com DBX Quantum Mastering Compressor, Owner: Kevin Hahn Otari MTR-12 1/4” Mastering Deck. Engineer/Producers: Kevin Hahn, Vince Monitors: Sundholm V8’s, Mackie Tognetti, Chris Stevens. HR824 reference monitors, Yamaha Rates: $40/hour, block $35/hour, proj- NS-10 reference monitors. Synthesis: ect $30/hour. Roland XP-80 MIDI workstation , Equipment: Yamaha O2R digital Ensoniq ASR-X sampler, Alesis D-4 mixing console, Tascam TM-D1000 MIDI drums. Condenser mics: Sounde- digital mixer, 32 tracks of Alesis luxe U-95 multipattern tube mic, Rode HD24 & XT20, Panasonic SV3800 NT-2 , Rode NT-1 (2), Audio Technica dat recorder,Tascam DA-30, Alesis ,ATM35, AT-851a, AT-4041(2). Cardiod Masterlink, Tascam 302 dual cass. deck Dynamics: EV PL-10, Shure Beta 52, Marantz 615 CD recorder, Marantz E.V. ND-868, ND-367 , Peavey PVM22 PDM 320 CD player, Microboards (2) , Cad 22 (2), Shure SM-57 (2). StartREC 400multiple CD recorder, Misc: Sony Spressa 24x CD Writer. Manley U5,Focusrite R8 dual mic AKG and SONY headphones, Furman preamps, Drawmer 1960 dual tube mic Distributed Headphone system , Gal- preamps/compressors, TLA PA-5001 lien-Krueger 800RB bass amp with quad tube mic preamps, Joe meek VC3 Eden 4x10 cabinet, Conn Strobotuner, (2) mic preamp/compressors, ART Marshall JCM-2000 guitar amp. PRO MPA dual tube mic preamps, Notes: No Moving Parts is a comfort- Eventide H3000 effects, Lexicon LXP-15 able, low cost recording environment effects, Yamaha SPX-90 effects, Yamaha with a friendly and knowledgeable staff. O2R (2) effects, Aphex Compellor, Providing exceptional sound quality Symetrix 425 compressors Yamaha with the kind of speed and fl exibility GC2020B compressors, Yamaha O2R that only hard drive recording can dynamics processors Drawmer MX30 provide. Perfect for inexpensive, great compressor/limiter/gate, Vesta Koza sounding demos or for budgeting the digital delay, Aphex aural exciter... kind of time it takes to complete a fully Monitors: Sundholm SL8.0 monitors (2 produced fi nal product. Check out our pairs), Genelec 1029A w/sub monitors website at www.nomovingparts.com for Yamaha NS-10 monitors, Auratone more info. monitors Hafl er P4000, P3000 power Clients: Recently - Nojeem Lassisi and amps Jujuba, Peer Pressure Microphones: Neumann U87 (2), Productions, Day Pass, Emberghost, Audio Technica 4033, 4050, 4051 AKG American Barricade, Erotic 414 B-ULS mic, AKG D112 (2) mics Politicans, The Blues Broads, Hydro- ADK tube, Audix D1, D2, D3 (2), OM5 ponic, Morse Code Heartbeat, Divine Shure 57 (4), 58, EV ND757a Noise Asylum, Patrick King, Naked Others: Sonar XL, Steinberg Wave lab Todd, Step Beyond Deception, Lipid, 3.0, , M Audio 1010 24/96k, Roland Spindrift, Kaddisfl y, Fusion Ball, Whis- XV3080,Roland 303 groovebox, Alesis key Sinner, Chapter’s End, D4, Ensoniq TS-12 keyboard, Fender Redline6, Hot Boxed Strat, 5-string bass, Tele custom, Gibson Les Paul, mandolin, Marshall, Fender Northstar Recording Deville, Line 6 POD, Mesa Boogie V-2, 13716 S.E. Ramona Crate. Portland, OR 97236 Clients: Kerosene Dream, Jollymon,
Page 20 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 21 Stephanie Schniederman, Deen Cas- minute”. Satisfaction guaranteed. tronova, Mad Hattie, The Red Sector, Equipment: Sound Forge and Vegas Triple Double, Shrapnel Records, video 24bit DAW, PSP Vintage Warmer, Shortwave Records, Albert Reda, Ennis PSP Mix Pack, Waves L2 Ultramaxi- in Theory.... mizer, Lexicon PSP42, Ozone Master- ing, Yamaha O1V, Frontier Design Pacific Records 24bit 10channel Wavecenter, Apogee 503.775.2530 1000 AD/DA, POW-r dither, Digitech Convenient Southeast Portland Loca- TSR24S, Fostex E2 1/4” analog with tion time code, Earthworks Sigma 6.2 refer- Email: [email protected] ence monitors, Sony DTCA7 DAT, and Owner/Engineer: David Pollock a few A/V rated Ultra Wide SCSI hard Rates: $20/hr includes engineer/ drives for optimal performance. producer, all equipment listed below. Clients include: Beta-Lactam Ring Other services include in-house short Records, Alien Eight Recordings, run duplication (printing and shrink- Ground Fault Recordings, Alluvial wrap included), online distribution, Recordings, Touch, Generator Record- and design ings, Egg Shell Productions, Sowelu Recording Equipment: Apple G4 Theater, Chel White Films, Dub Plate 450mhz 512mb RAM, 60gb Hard drive, Tectonics, Soleilmoon, Subterfuge ProTools 5 Gold Edition recording soft- Recordings, Banned Productions, ware, Digidesign recording interface, Reverb Records. TDK, QPS, and Yamaha CD burners, Peavey RQ200 mixing console, Emagic R Studio Logic Control (503) 285-9168 Microphones: (1) SE Electronics Owner: Gregg Whitehead SE5000 Tube (Neumann U87), (1) Behringer B2 Condenser, (2) CAD ICM Rainbow Recording 417 Condensers, (3) CAD TSM 411’s, 6614 S.W. Garden Home Rd. (1) CAD KBM 412, (2) Avlex 58’s, (1) Portland, OR 97223 Peavey 57. (503) 246-5576 Processors: PreSonus MP20 tube Email: [email protected] preamp, various effects from various Owner: Galen Hegna manufacturers such as Waves, Antares (auto-tune), Digidesign, and others. Recording Associates Other external effects from manu- 5821 S.E. Powell Blvd. facturers such as DOD, Boss, Zoom, Portland, OR 97206 Danelectro, Dunlop, and others. (503) 777-4621 Monitors: KRK V6 pair, Alesis Monitor Email: [email protected] One with Alesis RA100 amp, Aiwa. (1) Pair Sony MDR-V7000, (3) Optimus Red Carpet Treatment Novas, Rolls distribution amp Aloha, Oregon Instruments: Martin DM acoustic, (503) 848-5824 Custom Fender Strat, Hamer limited Owners: Gavin & Wendy Pursinger edition Archtop, Fender P-Bass Special, Engineer: Gavin Pursinger Epiphone Casino, Premier 5-piece Tracks: 16tk 2” 15/30 ips. drum kit with Camber and Sabian 2tk 1/2” 15/30 ips. 2tk 1/4” 15/7.5/3.75 cymbals, various percussion, Yamaha Mono Tube 15/7.5 MIDI controller, E-MU Proteus 2000 Rates: $40/hr or 10 hr block for $300 sound module (in advance + plus tape costs) Clients: Paper or Plastic, The Cand- Recorders: Scully 288-16 (2” 16tk), lethieves, Chazz Rokk, FaCx Murda, Ampex AG440B (1/2” 2tk), Studer A700 Focus, DreDizzle, Deep Treble Produc- (1/4” 2tk), Scully 280 1/4” 2tk, Ampex tions, Rose City Records, Premier 351-C (mono tube 1/4”), Panasonic SV Entertainment, and others. 3700DAT, Digital Audio Labs Hard Disk Editor, Phillips CD Burner, Pioneer 3 Private Studio Recording & Mastering head cassette (+4 converted). 420 SW Washington St. Monitors: Large JBL Alnico 15”/2”/ Portland Oregon 97204 Eliptical ring system in factory cabinets 503-407-2521 Biamped and TUBE driven. Near fields www.psrecordings.com are JBL L26(tube driven). Headphones Contact: Timothy Stollenwerk have 4 separate mixes. Console: Sunn Specializing in 24bit CD audio mas- SPL 3424 & 4424 well tied for 56 tering and post-production, which inputs. L & R main buss is now tube.. includes original sound design for Triode connected 807s fully regulated theater and film, field recordings, and & transformer coupled. This is the much more. Rates by the hour or by the “audio Continued on page 22
Page 20 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 21 jet J-12. Email: [email protected] 2408II, 1224, MIDI Time Piece, and Clients: Ray Charles, Chubby Checker, Web: www.sound-impressions.com MIDI Time Piece AV interfaces, Apogee Al Rivers III & The Ink Spots, Ike Other Services: Web Site Design, Video AD Rossetta Converter, Pro-Tools III Willis Band, War, Edwin Starr, Howard Production & Duplication, and CD 16 Track Power Mix (on the AVID Roberts & Mel Brown, The Weevils Rom Authoring. workstation). w/Billy Hagen & Dave Gill, Blake Wood, Owner: Dan Decker Synchronizers: 4 Adams-Smith Zeta Kathleen Riley, James Robbins Band, Engineers and Personnel: Dan Decker: Three’s. Cross Country, Diamond Eye, Kevin Engineer / Producer, Nick Kellogg / Outboard Signal Processors: Lexicon: Continued from page 21 Collins, The Bluesters, The Rockfords, Engineer / Producer, Rick Duncan: 480L, 2-Lexicon PCM-70’s, 2- Lexicon Robert Brown, Rob Ohearn, Miss Engineer, Wayne Thompson: Program- LXP-1’s, Lexicon PCM-41, 2-Yamaha heart of our vacuum tube console-now Red Flowers, Plesure Seekers, Planet mer / Engineer, Delandra Clark Sched- REV-7’s, Yamaha SPX-90, Alesis under construction. Quarantine, Kind & Loving Spiders, uling / Artist Management, indepen- Multiverb, Ibanez SDR-1000, Eventide Tube Equipment: “Thor”broadcast tube Undercover Records, Cravedog, Fer- dent engineers are welcome.Assistant H-3000 Ultra Harmonizer, ADA pre, Altec Lansing 220A tube mixer ( nando (Luther Russel on keys), June & Engineers: Jim Lechocki, Justin Pitchtrack, Roland SDE-3000, Deltalab 4X1),TL Audio Stereo Tube Compres- Joey, Vintage Flashback, Band of Andys, Swanson, Tony Crepps 64 Delay, Deltalab 1064 Delay, Audio sor, TL Audio Stereo Tube Parametric Strawberry,Orange Collection, Lamu- Direction: Sound Impressions has been Design Delay. Orban 672A 8 band full (these are fed single ended thru 40 yr rians, In Cell, Sleepover, Producer Mike serving the Northwest with qual- parametric EQ, Orban 622B four band old 600-10k transformers when used Mason, Brownell Sound & Bluegrass ity audio services since 1983. Audio stereo full parametric, NIH PE-30 four in mastering), RCT Tube 4x8 Stereo on the Green, Lisa Miller & the Trailer projects range from local demos to band full parametric, UREI A522 1/3 Plate Reverb, Presto 40B (regulated) Park Honeys,Alison Music, King Darl, national albums in all styles of music. octave graphic. Focusright Mic Pre’s, TL mic pre, RCT stereo tube line amp The Haunted Church, Shirley Sanders Our new facility located two blocks Audio Stereo Mic Preamplifi er, Aphex (6L6GCs), KGW Line Amp, RCT stereo Live, Yesterdaze Child, Live cable show from the Rose Garden arena houses two Type II Aural Exciter, Aphex Type B tube mic/line pre (5879s&6L6GCs), “Wing It” with Lynn Conover & Susan- large audio studios and a video editing Aural Exciter, 2-dbx 263X de-esser’s, RCT tube mic pre (5879&6L6GC), RCT nah Weaver, audio for TV of Hillsboro suite. Call to set up an appointment. B.A.S.E. Spatial Processor, Crane Song stereo differential limiter (6SN7GTAs), Symphony Orchestra. Pickathon 1999, We would be happy to show you our STC-8 Stereo Compressor, Focusright 2 Bogen Tube mixers 5ch (EF86s), RCT 2000, 2001. What can “glow in the dark” studios and discuss how Sound Impres- Compounder Stereo Compressor, dbx stereo tube DI (12AT7x). RCT TUBE do for you. sions can assist moving your musical 122 Stereo Compressor, Aphex Stereo GEAR HAS SEPARATE POWER SUP- career forward to the next level. Compeller, 2-JBL 7110’s, 2-Symetrix PLIES AND DC HEATERS. Rex Recording Mixing Consoles: Studio A: DDA AMR- CL-501’s, 2-Symetrix CL-100 , Symetrix Effects: RCT Tube Stereo Plate, AKG 1931 S.E. Morrison 24, 60 inputs with Uptown moving CL-150, 2-Symetrix 544 Quad Gates, BX 10 Rev, Alesis & Lexicon revs, Portland, OR 97214 fader automation, 24 buss split console Aphex 612 Stereo Gates. Orban Optic Compressor, Behringer (503) 238-4525 design. 36 channel master section and Instruments: Yamaha C-3 6 foot grand Composer, 2 Tapco +4 stereo graphic Web: www.rexpost.com 24 channel monitor section with EQ. piano, Yamaha DX7, Yamaha DX7 II, EQs, Audio Logic Quad Gates (VCA), Owner: Sunny Day Productions, Inc. Switchable plasma metering. Studio B: Ensoniq ASR10, Fender P-Bass, Fender 2 Scully 280 mic pres, Ampex 440C Yamaha 02R digital mixing console: 40 Jazz Bass, Fender Telecaster, Kramer mic/line pre, 5 Digital Delays, 12 ch River Recording inputs with dynamics and parametric DMZ-5000 Fretless Bass, Gibson J-40 patchable DBX 180 noise reduction. Milwaukie, OR EQ. Studio C: Yamaha 01V Digital acoustic, Rickenbacher 5001 Stereo Mics: AKG “The Tube”, 451 (2), D-12, (503) 659-5760 Mixing ConsoleMulti-Track Record- Bass, Ampeg B-15 Bass amp, Fender 330BT (4),D-224E, Electrovoice RE27, Owner: Steve Parker ers: Otari MX-80 2 inch 24-track with Sidekick amp. Oberheim Matrix 6R, RE20, RE 16 (2), DS 35 (2), 665, 1777A CB-120 locator for programmable Korg DW-8000, Sequential Drum- (2), RE 50, Rode NT2, Studio Logic Sound Goods punch-in and punch-out. ADAT 24 trax, 2-Alesis D-4 Drum Modules, C3, Sennheiser 421, Shure 55S, 56 Beaverton/Aloha, Oregon tracks, BRC auto locator. Korg M3R, EMU Proteus, Oberheim (2), 58, PE50SP. Helpinstill magnetic (503) 690-6864 Mastering Decks: Otari MTR-12 II, Matrix 1000, Kawi K1, Korg Polly 800, piano pickup. Large adequate stands & Web: http://www.soundgoods.com Tascam 52, Panasonic SV-3700 DAT’s. Roland 2080, Akai S2000 Sampler, hardware. Owner/Engineer/Producer: Joshua Panasonic SV-3500 DAT, Yamaha CD-R Roland JV1010, Fender Rhodes Piano, Instruments: grand piano, Hammond Slamp writer Whurlitzer Piano, large sampling CV & Leslie, Fender Rhodes 88 stereo, Noise Reduction: Dolby 363 SR/ A library of loops and sounds. Fender Telecaster bass, Gibson melody Sound Impressions, Inc. 2-Channels, Dolby XP 24-Channels SR, Microphones: AKG The Tube, AKG maker (P90s), Yamaha acoustic 12 1920 N. Vancouver Digidesign D.I.W.R. Digital Audio 414’s, Neuman U-87, Neuman KM- string, dual showman cabinet, Sunn Portland, OR 97227 Digital Workstations: 3 Digital 140’s,EV-RE20, AKG 330’s, 320’s, 451’s, 2000s, Sunn 1200s, Sunn 100s, Ampex (503) 287-3975 Fax: 249-5021 Performer workstations with 2408, 460’s, D-12’s, D112. Audio Technica
Page 22 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 23 ATM-63’s, Tascam PE-250’s, Sony Tall Jazz, Dub Squad, Gary Ogan, Rick Sullivan. Email: [email protected] Condensers, American and Shure Dub Debrie, Steve Christopherson, Main Components: Mackie 32x8 Owner: Alan Alexander III Ribbons, Shure SM-57’s, Sennheiser Here Comes Everybody, Patrick Doro, recording console, Alesis HD24 24 track 421’s, & more!Monitors and Amplifica- Double Trouble, Cross Country, Power hard disc recorder, Alesis ADAT xt-20 Walnut Studios tion: UREI 813’s, KRK 7000’s, Yamaha Of 10, Marv Ross Rindy Ross, Land of (2), Tascam DA-P1 DAT recorder, Event (503) 312-9663 NS10’s with matching sub wolf, Aura- the Blind, Chode, Mel, Nancy Bright, 20/20 monitors. Balanced Power, Equi=Tech ET1RSI-F. tone 5-C, Ramsa, Crown, Yamaha,and Leroy Vinegar, Soular, OC192, Gypsy Processing: ART Dual MP tube mic Console, Mackie D8B, OS 3.0. Recorder, QSC Amplification. Caravan, Melt, JIVA, Victor Wooten, pre, Kern IP-777 tube bass pre amp, Otari RADAR II Hard Disk Recorder, Clients and Projects: Subpop Records, Portland Trail Blazers, Portland Winter dbx 166A compressor/limiter, Mac G-3 OS 2.20. Mics/DI, AKG C 414 B-TLII Atlantic Records, Frontier Records, Halks, Portland Songwriters Associa- with Digital Performer, MOTU 1224, (2), Groove Tube 1A (2), Sennheiser Sony Records, Mercury Records, Road- tion, Tektronix, NEC, Fujitsu, LPKF Lexicon MPX 100, Lexicon Alex, Peavy MD-421 (2) , Shure SM-57 (4) , Shure runner Records, TK Records, Carlson USA, LPKF Germany and many more. Deltafex. SM-58 (2) , AKG D112 , Shure Beta 52 , Records, MDR Records, Rainbow Available Instruments: Allegra 6 piece Neumann M147 , Neumann KMS105 , Records, Schizophonic Records, Ele- SuperDigital Ltd. drum set, Ludwig 5 piece drum set, SansAmp Bass Driver DI , AKG D12-E mental Records, The Dandy Warhols, 915 N.W. 19th Portland OR 97209 Roland XP-10 synth, Roland SDP-20 , Neumann KMS148 (2) Preampli- The Freemartins, Scott Fisher, Smooch- 228-2222 percussion synth, Boss drum machine, fication, True Systems Precision 8 , knob, Al Perez Band, Ashbury Park, Email: [email protected] many guitar and bass amps, various Focusrite ISA-110, Limited Edition , Blake Sakamoto, Honey Ryder, David Web: www.superdigital.com percussion items Focusrite Platinum Voicemaster (2) Lee, Disciples In Song, Jan Celt, Lonnie Owner: Rick McMillen Microphones: se. Electronics 2000, , Mackie VLZ’s Processing, Mackie Turner, Washing Waldo Woo, Signals, GT AM-52 (2), Audio-Technica pro EFX – Reverb, Compression, Gating MOJO, Jackstraw, Fred Stickly, Hard- T-Bag Studio 37r, Shure sm 58, Shure sm 57 (4), , Apogee UV22 , Lexicon PCM 91 ship, Jamie Hampton, Stark Raving Address: 6925 N.E. Garfield Ave. Port- Sennheiser 421, Sennheiser e604 (3), Reverb , Waves L2 Ultramaximizer , Mad, Super Friends, Dave Said Strike, land, OR 97211 AKG D112, AKG C1000. DBX 160A Analog Compressor (2) , Petal, In June, Jeff Cava, Shapeshifter, Phone: (503) 313-5521 Clients: Five Fingers of Funk, Porter- EMU E4XT Ultra Sampler Monitors, Adam Zwig, Jim Sluder, Lisa Polick, Email: [email protected] house, Silky, Organic Mechanic, Code- Mackie HR824’s Headphones, Sony Jon Koonce and the Gas Hogs, Poison Contact: Talbott Guthrie for booking breaker, Danny East, The Instigators, MDR-7506’s Media Format Options, Idea, Eric Mathews, Cardinal, American information Invisible Doctors, Diego Salvadore, 7th CD-R, DAT, .mp3, .wma, Cassette Girls, Swoon 23, Craig Carothers, Rates: $20.00 per hr. Seal, Joe Cunningham Transfer Formats, TDIF, ADAT Opti- Heatmiser, Dan Reed, Monde La Bella, Block rates are available. I know many cal, Analog XLR and _” TRS Stereo Southern Nights, Caveman Shoe Store, musicians who can help write, arrange, Tonic Media Transfer Formats, AES/EBU, S/PDIF, Pig Pen, Hearing Voices, Snowbud, or produce, if you need it (for a little PO Box 14062 XLR,” Coaxial. Dan Balmer, Brothers of the Balidi, Nu exta cost). The studio, control room, Portland Oregon, 97214 shooz, John Nilsen, Michael Harrison, and acoustic panels were designed by (503) 236-2123 LL
Page 22 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 23 Page 24 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 25 Page 24 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 25 from commander Buck informing me that Skinny White Shoulder ZZ TOP won’t do the show that night unless Continued from page 6 Continued from page 26 I’m there in the audience so naturally I had to force myself to have a killer time just for Love Shack a feel for just how crazy things can get. the sake of Too-Louies of course. I know we’re all bummed the Jazz DeOpus September 12th, scheduled to play a September 20th, this should be a fun closed down. I was lucky enough to catch the “welcome back to school” gig at a N.E. day as I have two fun events to play at. Gig Noah Peterson trio there the last time I was in Portland grade school but they wrote in the number one is a street party in the hood town. Hey, does anyone remember the 70’s bach- wrong date on the contract and we missed the with Sam Bam Boo. Gig number two is a elor pad beanbag furniture that used to be there gig but they paid us anyway. September 13th big outdoor wedding and reception on the before Jonny they remodeled Hollywood back in the 80’s. The passion got a great surprise while attending memorial beach at Cannon Beach with the Bossa Boys. pit in the back was a great place for a clandestine service for an old friend when all members of As I arrived at the small neighborhood street rendezvous back in the day. my kid band “The Sound Revolution” showed party everything looked great, the sun was up to pay tribute to our “Band Mom” Anne breaking through a thin layer of clouds, the Looking For the Heart of Saturday Night Greek. We hadn’t been together since sex was kids were attacking the ’65 Slingerland drum My last night in town and it’s time to find clean, the air was dirty and Buck Munger was kit as usual, the BBQ was all cranked up and the epicenter of all that is cool and happening. promoting Sunn Amps. I’m the only one that smokey and I was looking forward to an hour Being more or less out of touch with the current got stuck in the music biz so we spent the rest or two playing the up beat and jazzy versions scene, I’m left to the guidance of my Lucky Eight of the day reliving our rowdy hey-day and of my steel drum book with two great musi- Ball and a copy of Willamette Week. “Uncertain pointing out each others bald spots as they lis- cians like drummer Jay Harris and master at this Time”, “Try Again”, were the best answers tened to my overblown ego-centric local rock bassist Brian Healy. As the gig started we went I could get. star wannabee epsodes of love, lust and gui- into our usual calypso meets Miles Davis with Looks like I’ll have to wing it. I could go for tars. Later that day a second gig was canceled a touch of Zappa thing but about two minuets something safe, like the blues, but tonight caution because of bad event planning, but we were into the tune we all hear a strange clicking is thrown to the wind and I head out for the sure- sound behind Jay, we finished the tune and to-be-happening “Barbatti’s - Ash St. Saloon - Paris Theater Triangle”. With the demise of Satyricon, I “Midway into the second song we heard a louder pop and lost any ties to what I know of a sure “Hip” thing, but being in an existential mood, I’m in total obser- click as the paper fish hanging from our make-shift tent vation mode anyway, so I know it will be cool, no matter what happens. seemed to frantically fly around in a circle as it stopped
A Touch of Gray we all focused on a small round hole with a flap next to I catch a set from “The Baptist Generals”. Through my sensibilities, I get a cross between an organic Radiohead with a little Perry Farrell thrown it, we all realized instantly we “were being shot at!” in. Hope the comparisons don’t offend anyone; it’s again “payed in full” because of our contract. discussed what it could be and then went the best I can come up with. The Generals pro- September 14th, played at an ice cream social on with the show, midway into the second vided a harmonic focus to the large crowd that in the west hills in a perfect park for perfect song we heard a louder pop and click as the had gathered, not exactly to boogie, but to bask people but it rained. September 15th, took my paper fish hanging from our make-shift tent in a communal vibe without having to commit to band on a “Band Field Trip” to the Candle- seemed to frantically fly around in a circle as it too much physical participation. A mushroom or light to study the New Orleans piano styles stopped we all focused on a small round hole two would have made the evening transcendental, of Portland great D.K. Stewart. Mr. Stewart with a flap next to it, we all realized instantly however as I’m on a natural high these days, I was puts on a great show and has an all-star band we “were being shot at!”. Obviously we put content to be mesmerized the blue lights dancing including Peter Damon and Carlton Jackson. down our tools and huddled in disbelief and through the shadows and the reassuring smell of I learned a lot about how much I need to shock as we tried to assess the citation. After cigarettes and beer. I may have not found the heart learn. September 16th, played a Young Audi- further examination of the bullet hole we of Saturday night, but I surely found the head. ences assembly with the World Beat Music realized that it was only inches from Brian’s Tour at an area grade school, later that night I head and if he wouldn’t have been moving as Further On Up the Road was invited to jam at DV8 on S.E. Powell with he played it would have struck him square in As I drive through downtown Portland, I’m Marty and the gang. September 17th, I started the temple. The cops came by for a minute, taken by the empty quiet of the streets at 1:00 am. on my next recording project which is a New we had to bag the gig, but we got paid anyway It’s a little spooky, but I’ll enjoy it while I can. Orleans style blues thing I’ve been bragging because of the contract and I packed up to Tomorrow I’ll be back in traffic of L.A. Goodbye about for several years now. September 18th, head out to the coast so that I could provide for now, until next time. Though my receiver may I got a call from the Willamette Week to play a fun and upbeat show for my next and hope- be stuck in California, my radio dial will always before that nights Jimmy Buffett Concert up fully friendlier audience, they were and it was remain tuned to Portland. at the Clark County AMP-a-theater (I did it our best gig of the year. Peace. last year at the Rose Garden) but I had to turn it down because of a previous booking for the Wilsonville Chamber of Commerce, we don’t bail on a contract ever! LL September 19th, got an early a.m. call LL
Page 26 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 27 “De rang ed” and “J e ff e r so n’s Ghost ” maintain that s o rt o f d a r k f ri v o l i ty o v e r u p - t e m p o c o u n t ry t i n g e d r oc k arrang e me nts. O t to’s S tor y te l l er a l bu m i s a co l l e c t i on of C ontin ued fr om pag e 12 m o s t l y d e p r e s s i n g b a l l a d s , g e n e ra l l y a c o u s t i c g u i t a r D y l a n T h o m a s Va n ce h a s f o u n d h i s ow n a n d h a rm o n i c a s t u f f . T h e s e a r e s t o ri e s o f p e o p l e o n mu s i c a l i den t i t y i n ver y s h or t order, re ce iv i n g the edg e, looking at the dark sid e o f lif e. “ She Got critical and pub lic ac c laim, whic h will o nl y gr o w the Best Of M e ” and “A Sadness I n Your Soul” ar e wi t h t h e r e l e a s e o f t h i s a l b u m H e r e h e d i s p l a y s m a g - stand ou t e xamples o f the t e n-so ng c ollectio n The n i fi c e n t c o n tr o l o f h i s m ed i u m , a n d wi t h t h e a i d o fthr ee so ngs with the P eac ek ee pe r s (Ott o , C harles L i p k i n d a n d B e a r, h a s p u t t o g e t h e r a m o r e c o h e s i v e and Pharis) ar e mo r e upbeat Though the s ubject p r ogram than with his fi r st r elease. The sky is the matt e r is still a b it mo r ose, the r e is a b it o f h umo r limit f o r this tale nt ed y oung sing e r/guitarist. A s be hind the d e p r essio n. fast he is gr o wing these da y s, he is s ur e t o bec o me Over w h i s t l i n g j e t n oi s e s a n d i n terce p te d a m usical giant v e ry soo n. tower com mu n i c a t i on s , a n d w i t h i t s s p i r i t i n “H o nky To nk Wo me n ” t e rrit o ry, the snap p y, up The R oad Of L if e - C hris C harles t empo r ock er “ One Wa y T ick et To A mst er dam ” Thr ee Songs - T im Ott o & The P eac e mak e rs posits “ W he r e the lo v e ain’ t fr ee, b u t the drugs ar e The S t oryt eller - T im Ott o w/ C hris C harles g ood/ I g ot a o ne wa y tic k et t o A mst e r dam/Sa ying Self-P r od uc ed g oodb y e t o U nc le Sam/I d o n’ t car e if I c o me bac k T im Ott o and C hris C harles w o rk ed t og ethe r in a bo x o f w ood.” in the earl y ‘80s, jo ining f o r c es in the se minal local “ T h e Ma n Wit h No Nam e” i s a s p a g h e t t i ne w wa v e band, the S urf C o wbo y s. B u t whe n the w est e rn type n umbe r, with moaning harmo nica b a n d b r o k e u p l a t e r i n t h e d ec ad e , t h e p a i r s t o p ped and mino r k ey melodrama with gunfi ght sound w o rk i n g t o g e t h e r. O n l y r e c e n t l y h a v e t h ey r e s u m e d e ff ects in the intr o- m usicall y so mewhat similar t h e i r p a rt n e r s h i p , r e c o r d i n g m u s i c ( s e p a ra t e l y a n d ) t o the Eagles ’ “ Outla w M an.” The chorus spells t og ethe r as though they had nev e r part ed wa y s. ou t the whole d ynamic: “ S uicid e ’s m y game/ A six It’s o bv i o u s , t h a t t h e Cow b oy s t i l l l ive s i n shot r ev ol v e r is t o b lame/C o z I’ m the man with no b o t h p e r f o r m e r s , a l t h o u gh t h e Cowb oy a i n’t name.” A b ull whip crac king at the e nd o f that line s u r f i n’ m u ch a nym o re . C h a r l e s l e a n s tow a rd w ould be absol u t el y pe rf ect. laidbac k c ountry r oc k far e (he pla y s all the instru- Ch r i s Ch a r l e s a n d Tim O t to d i s p l ay w r y ly me nts and sings all the parts o n his alb um), while bl a ck s en s e s of hu m or i n s om e of t h ei r s on g s ; O t t o t e n d s t o w a r d m o r e s e ri o u s , s i n g e r / s o n g wri t e r, whic h r eall y helps whe n singing abou t the dark e r poeti c e x c u r s i o n s ( C h a rl e s e n gi n ee r ed T i m’s s o n gs aspects o f lif e, with t o pics s uc h as lo v e lost and its a n d p l a y e d a l l t h e i n s t r u m e n t s o n i t t h a t T i m d i d n ‘ t , r esid ual e nd uring har dships, d e p r essio n and self- while f o rme r S urf C o wbo y drumme r B rad Pharis d e s t r u c t i o n , e t c . W h e n t h i n g s t u r n s e ri o u s , t h e s t a r k laid d o wn the beat o n the P eac e mak e r s trac ks). r eality is har d t o list e n t o , har d t o hear, r eal though Both m usicians see m r oot ed in the fi r st thr ee it ma y v e ry w ell be. E a g l e s a l bu m s ( E a g l e s , D e s p er a do a n d O n T h e B u t, be that as it ma y, both o f these gu y s ar e Bo r der) of the early t o mid ‘70s, ev oking a sort v e ry capab le so ngwrit e r s, m usicians and pe rf o rm- o f qu a s i - o l d we s t o u t l aw ( m o re a t Jo h n Fo rd ’s e r s . I t w o u l d a p pe a r t h a t t h e p a i r wi ll be p r od u c i n g or S er g i o Le on e’s o l d we s t t h a n t h e re a l t h i n g ) mo r e r ec o r dings t og ethe r in the near fu t ur e. So , pe r specti v e in a f olk/c ountry-r oc k setting. A little w e shall soo n see what pearls the r e ne wal o f that anac hr o nistic B u t, in r oc k m usic, no tr e nd is ev e r partne r ship will ed uc e. o u t o f f a s h i o n f o r e v e r; t h e w h o l e a l t . c o u n t ry r e n a i s - s a n c e h a s p r o v e n t h a t , i n t h i s i n s t a n c e . F o r C h a rl e s , Au t h o r ’s n o t e : L a s t m o n t h , i n my revi e w t h e E a gl e s , t h e B yr d s , Wa rr e n Z ev o n , J o h n S t e w a rt , of S a t t i e C l a r k’s a l b u m Fat h o m , I i n a dv e r te n t ly M ark K no pfl e r (v ocall y) and N e il Young ap pear r eferr ed t o the lat e M arty J ennings as M arty H ig- t o be infl ue nc es. I n Ott o ’s mat e rial, y ou can hear gi n s i n s ev e r a l p l a c e s . I a p o l o gi z e t o ev e ry o n e i n v o l v e d Young and the Eagles, St e wart, Z ev o n, J ohn P rine, f or that inexcusab le err or . While bo th J ennings and K ri s K ri s t o f f e r s o n a n d m a y b e e v e n J e rry J e f f Wa l k e r H iggins ar e r egar ded as fi ne m usicians, each in his and M e rle H aggar d as infl ue nc es. o wn right, M arty J ennings pla y ed vio lin on Sattie ’s F o r C h a rl e s , “T h e R oa d O f L i f e ” i s a l a t t e r - d a y alb um shortl y bef or e he r ecentl y died o f a v ery high B yr dsian so rt o f n umbe r, that maintains a jaunty p r ofi le o v er dose. To m y r eco llection, M arty H iggins atmosp he r e, while singing “R ollin’, d o wn the r oad is a drummer , and t o the best o f m y kno wledg e, he o f lif e/M issing m y e xits, b r eaking d o wn at night/ is still v ery m uch ali v e. Ov er the y ears, man y ha v e R ollin’ d o wn the r oad o f lif e/St uc k be hind a truc k st ep ped f orw ar d t o indict m y m usic r eviews, fr eel y with no passing lane in sight.” S imilarl y, “A t The en u m er a ti n g m y c o u n t l e s s jo u rn a l i s ti c s h o rt c o m i n gs . Bott o m A gain” tak es a g ood-nat ur ed look at be ing intoxicating I sho uld think this episode w o uld serv e superb l y as bad o ff. “I g ot b list e r s o n m y hands fr o m w o rking ’ Exhibit A in that argument. so har d/d o wn at the st upid ass fact o ry jo b/P a y is t oo lo w , I can’ t aff o r d t o g et high/Do n’ t think I’ll TwoLouiesMagazine.com ev e r g et a piec e o f the pie.” Othe r so ngs, s uc h as LL
Page 26 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 27 Continued from page 17 Capitol is putting the full pop-crossover press cadet his records were released by the label as the show as “The same three guys with the same on the promotion for the Grammy winning Lynne. “Foxtrots.” “Mitch Miller was the head of A&R three chords,” Billy, Dusty and Frank delivered the Shucking her Nashville image the new album at Columbia and they had a strict ‘no rock-n-roll’ hits in sombreros and drank a Mescalero toast to “Identity Crisis” was recorded in Hollywood at A&R policy,” sez Buzz. A Columbia engineer the audience for “staying with us.” Cherokee studios with the aide of veteran L.A. taped babytalk at home and edited the Clifford Backstage, The Reverend Billy G. questioned rockers including Bill Payne of Little Feat. “Foxtrot” single “Baby Sittin’ Boogie” which Kingsmen guitarist Mike Mitchell (and his Having Buzz around will help her rock. Clif- went to #6 on Billboard’s Singles chart. younger brother Dennis of No Ties) about Roll- ford is excited about his new tune based on the Buzz was a Top Ten artist. ing Stone’s coverage of the “Louie Louiepalooza”, Carlos Castaneda’s teachings entitled “Carlos and With the hit-like it or not-Columbia was in in Tacoma, an attempt to set a world record for Juan”. “I originally wrote it for Anna, but I think the business of Rock-n-Roll and Buzz, sort of an most guitarists jamming. Shelby likes it,” Says Buzz. “Somebody will do it.” east coast Eddie Cochran, moved to Los Angeles ZZ and Louie have a history. where he quickly became a local hero. For years ZZ Top performed a mini That’s when I met him. version of “Louie Louie” at their sound Buzz had a new single “Until checks. “That song has driven me crazy Then” out on RCA Victor, was form- all these years,” Gibbons says he just fin- ing a band and I got the drummer’s job, ished a tune called “Chili Sauce” inspired and my introduction to the Hollywood “completely by Lynn Easton’s original studio world. The years I played in the drum track on ‘Louie Louie’. ” Buzz Clifford band were as valuable as “I had a studio drummer sit a Harvard education in the music busi- down and listen to “Louie Louie” over ness. We leased masters and recorded and over for days and days to get that for several labels under different names Easton feel.” and all lived at the beach at the show- Portland’s greatest hit simmering folk famous Chez Jay’s Restaurant, in Texas hot sauce… Bar and Motel at the foot of the Santa ZZ Top has well over 50 million Monica Pier owned by Jay Fiondello, albums sold, made upwards of 200 who introduced us to movie stars and million dollars at the box office and in was our “financial backer”. 2004 are nominated for the Rock-n-Roll When I left the group a guy named Hall of Fame. Gary Busey replaced me in his last Same three guys, same three full-time musician job before playing chords. Buddy Holly in the movies. Not a bad career model for any NNN Portland band. (Art Alexakis, are you Speaking of a Harvard educa- listening?) tion… If you’ve somehow missed the tonal The current issue of the Harvard perfection and musical magic of ZZ Top, Law Review addresses the overall con- the new boxed-set from Warner Brothers dition of music industry today. th is in stores October 14 . “Tension between artists and record companies is at a high point. NNN Many recording artists and their sup- Babysittin’ boogie… Buzz Clifford and Billy Gibbons (with his beard tucked in his porters have formed organizations such Buzz Clifford didn’t make the shirt) stalk the big ones on the Columbia. Photo: Jablonski as the Artist Empowerment Coalition trip to Portland with Grammy winner and the Recording Artists Coalition Shelby Lynne. Buzz joined Shelby’s band Clifford says he’s still getting respectable writer’s (RAC) to organize extensive industry reform several months ago when her manager discovered royalties for “Milk & Honey’ on Beck’s “Midnight efforts, including campaigns to limit long-term vocalist Anna Montgomery and signed her as Vultures” album. recording and publishing contracts, secure artist an opening act and backup singer. Buzz wrote Buzz lived in Portland from the mid 80’s thru ownership of copyrights in master recordings and and produced the Anna album that got Shelby’s the mid ‘90’s and had several working bands (See: music publishing, and reform industry account- manager’s attention. Skinny White Shoulder P. 6). “I was always pretty ing practices. The artists’ opponent on these and Shelby and Buzz just returned from several good friends with Norman Sylvester.” other issues is the Recording Industry Association weeks of dates in the Southeast. “I’m like the third When Buzz moved here he was already a of America (RIAA)- the influential trade associa- guitar player. The label was paying for it and they historic figure in rock-n-roll. tion representing the music industry, including wanted an extra percussionist for the northwest Buzz Clifford was the first Rock-n-Roll artist the five global conglomerates: Universal Music instead, so I’ll join them back down here for the on Columbia Records. Group, Sony Music Entertainment, Warner Music House of Blues shows.” As a Pennsylvania teenage military school Group, EMI/Virgin, and Bertelsmann Music Group
Page 28 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 29 (BMG). Mt. Tabor Theater October 31st with Dr. Theopolis, Artists vs. the RIAA… Jonah, The Bella Fayes, Odds Against Tomorrow Guitarists, Bassists, Drummers, Singers Anyone contemplating a career in the music and UHF…Matador Records just made a deal with CANCEL YOUR CLASSIFIED AD industry should read this overview and you can Apple so now you can buy Stephen Malkmus a locate it on the web at http://www.harvardlawre track at a time on iTunes…Reynolds Audio hold- Meet musicians/bands view.org. ing a Grand Opening and Open House Sunday looking for other players If you’ll scroll to the end and check the October 26th with live music by Scott Fisher. For footnotes you’ll find that part of the documenta- directions call: 503/892-6268…Camaro Hair back tion came from our own Bart Day “Some Back- from their second West Coast tour play Dante’ Sat- th OCTOBER ground on the Seven-Year Law (Jan. 2003), at http: urday, October 18 …The Brian Copeland Band //www.twolouiesmagazine.com.” CD Release Party takes place November 14th at Fuel Henceforth, address your Legal Ease corre- in the Pearl District. Stephanie Schneiderman 24th spondence to “Harvard Boy”. will open with an acoustic set…The Buffalo Gap hosting True Music Tuesdays a new acoustic series LIVE AUDITIONS NNN featuring original music talent. October 28th True (equipment provided) th Primary education… Music Tuesday headlines 4 Plane Jaiant, Adam & Refereshments served Adrian guitars is setting up a regular open- Kris, Life After Liftoff Duo, Rachel Taylor Brown mic stage with gear provided to help musicians find and Andrew Field (Rosewater)…Geoff Byrd’s 6:30-9:00 PM CD Party is booked for October 25th at Dante’s. band members. Musicians looking for musicians Register in our can hang and jam on Geoff’s 11 tracks were the store-provided PA produced by Steve player’s database system and backline. Sundholm whose dad The first in the Conrad is the brother series of events is Friday, of early Kingsmen October 24th from 6:30- bass player Norm and 9:00PM at the Oregon the co-founder of Sunn City store. For info: Musical Equipment 503/656-3644 Company…Former Attendees will Desitrek wizard Doug enjoy free refreshments Durbrow tracking at and be mentored by a Big Red studios. Doug graduate of Los Ange- is producing Belinda les’ prestigious Guitar Underwood with Institute of Technology. musicians Phil Baker, Adrian owner Chris Clay Gilbertson and Johnson graduated Martin ZarZar (Pink from the GIT and has Martini)… Ezra Hol- Amplified Music Products the scoop on the skills brook doing a solo required for a career in at Conan’s Pub on the music business. Meredith Brooks and Jasmine Ash jam Thursdays from 6 to in Brooks’ Hollywood studio. 8 pm…Red Carpet NNN is moving the control room into the piano room to make the much larger THIS JUST IN…The OLCC goofed when room the playing room, “Like Abbey Road did with they filed their paperwork for the under-21 ban Jeff Beck and Tom Jones.” Says owner Gavin Purs- on entertainers where booze is sold. Because of inger…The Red Sector will be re-born at Conan’s the foul-up they are required to “re-file amended October 25th. That night they’ll be working with language” and that creates a new opportunity for guest bassist Brian McMillen…Pirate Jenny hosts public input. Deadline for written comments is a pirate-themed costume party and Halloween November 21st If you want to help woof them back show at the JasmineTree Friday, October 31st at in the name of child stars everywhere, call Bruce 9PM. Pirate Jenny is the foremost proponent of Fife at the AFM 503-235-8791…Captain Rock at the indie sub-genre “Pirate Core”…Trash Art plays Conan’s October 18th…Kaitlyn ni Donovan at an in-store at Millennium West Saturday, October Conan’s every Wednesday. Kaitlyn says she’ll let 18th at 5PM in support of their new album Little you use her guitar if you want to do a couple of Broken Words…Life After Liftoff at the Green your own songs. On her git-tar is a signed picture Room Friday, October 24th. They have a new live of Donovan Leitch from “When I was so, so, so album “Paper Moon”…Jasmine Ash heading back lucky to open for him on that fantastical hurdy to Los Angeles in November to look for personal gurdy sunshine superman juniper night”…Scary… management. After her confab with Meredith Somebody let the Woolies out for Halloween! Tim Pictured MusicLord Shortstack Brooks in her studio last month Jasmine decided Ellis and those prime purveyors of the “rough jazz” to join BMI… of the 20’s and 30’s play the Blue Monk on Belmont Visit Us at October 31st…a big Halloween Rock Festival at the LL www.musiclord.com
Page 28 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 29 MUSICIANS CLASSIFIEDS STOP IN ANY PORTLAND MUSIC FREE LOCATION & FILL OUT THE FREE FORM •Working Singer/Songwriter soloist Clapton/Bloomfi eld. Call: John •Experienced Vocals & Front man •Redline 6 needs new members 21- CarlyDiggs seeking musicians to Johnson 503-557-0621 seeks high energy metal rock band 29, drinkers welcome! form a band. Contact manager Brent •Experienced female vocalist/ that’s ready to record & gig out of Call: 503/705-7567 503-274-2119 front person seeking professional, town. Priest – AC/DC-Maiden. Call •A Classic 70’s rock bass player •Former Burning Hatred singer working band. Dance, R&B, Dan: 503-231-0363 will give this band wings. We up for grabs. He’s got the looks, Contemporary Rock 971-506-5576 •Looking 4 Fresh Talent. are 2 guitars, drummer & singer gear and attitude to be successful. •I’m a pro guitarist looking for keys, Songwriters, Musicians who would with day jobs. Contact Larry at Disturbed, Mudvayne, Tracy 503- bass and drums. Pros only, rehearsal like to collaborate on Brit infl uenced [email protected] 720-9469 space, material. Prog Alt Rock Jazz originals. I sing, write and play •Drummer available or working •Just got here from Chicago. The 503-644-1117 almost anything. Stu 503-253-1915. band only. Pro kit, looks & attitude. Steve Bartman Blues Band already •Drummer wanted. Odd time •Metal bass player. Infl uences Experienced, dependable, can travel. has the media interested. 503-223- signatures play top level. Harris, Butler, Burton. Pro gear, Pro I love Rock, Funk & The Blues. 2157 30’s-40’s, pro only, versatile attitude. No drama or dependencies. Call: 503/347-2182 •Electric violinist seeks bass [email protected] or call 503/ 503-656-0582. •Looking for Alt-Rock bass guitarist. and drums for original project. 644-1117 •Drummer Available experienced Must be serious and nice with good Infl uences: U2, Dave M. Sting. 503- •Progressive alt-rock jazz group from in all styles. BA in music. I listen attitude. Call: 360/696-4887 or 360/ 516-4980 Brian Europe formed in ‘74 needs west and play dynamics! Please call Bill 896-3603. •Blame Jim needs a bass player for coast tour booker/manager/agent for Mead 603-616-8951. •Guitar slinger with hot stinging original rock band Call Jeff:971- Fall 2003. [email protected] or •Lead guitarist wanted for leads seeks progressive Blues 570-9133 call 503/644-1117 established band. Infl uences: Band or Musicians to jam with. •Bassist needed. Flexible. Gig 1-3 x •Active established NW Classic Scots, X, B-52s, Cramps, Social Into Moore, Gibbons, Healey, SRV month. Variety. Rock. R&B, Blues. Country band seeks experienced Distortion, AC/DC, our mothers. etc. Call Monty 503/335-3617 or 503-287-2597 drummer, vocals a plus. Live Call: 503-201-6877. [email protected] •Drummer wanted call James 503- audition available. Call: 360-225- •Pink Floyd tribute band forming in •Punk band looking for drummer. 693-0607 Cedric, where are you? 0276 or 503-577-7505. SE Portland area if interested Must be serious. Jerry 503/430- •Female lead vocalist seeking •Bass player seeks drums, keys to call Dilly at 503-654-1917 1813 or Josh at 503/720-2887 musicians for new band. Rock with jam with. Northeast space Weds, Fri •Guitar Player looking for bass, •Power groove band seeks singer. strong blues infl uence. Have PA & PM Infl uences: Velvet Underground, drums & guitar players for surf Pro gear, years of experience and rehearsal space. Call: 503-679-9055 Pink Floyd, Etc. Jordon 503-285- music. Call: Keith at 503/232-8785 practice space. Looking for Patton/ •Looking for Bass player for 4848 Cornell/Jason 503/957-0357
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Page 30 - TWO LOUIES, October 2003 TWO LOUIES, October 2003 - Page 31 ON THE COVER ZZ Topʼs new RCA album “Mescalero” cruises comfortably on Billboardʼs charts while Warner Brothers readies the release of a 4 CD boxed-set Continued from page 31 October 14th. Billy Gibbons visits his friends in Oregon while Beer Drinkinʼ & Hell Raising. (photo Buko) administration costs and other overhead costs not necessarily attributed to any specifi c record- Dwer Two Louies, ing project; and/or it may advance the recording I want to thank each and every one of you who costs for each album produced. It will have the sent me emails while I was down. I can’t express right to recoup those costs before it pays any roy- how amazing it felt to recieve your emails in the alties. Recording budgets for each album project hospital (thanks Ez, for printing them out.) are specifi ed in detail in the contract. It’s been a very good summer... It’s now early From a production company’s perspective, in the morning, overcast sky, two and a half months recording costs should be recouped only on an after I got Knocked the Fuck Out... and I’m sucking artist-by-artist basis; the production company down bong hits counting my blessings. Praise God! should avoid any cross-collateralization clause Right now I’m contemplating whether or not to that allows the major label’s recoupment of hop on my new bike now... or hop on it later and recording costs for all artists from the total pedal down the block. amount of royalties owing for all artists. Oth- Let me break it down into syllables. “When erwise, the monies paid by the major label to the I was riding my bicycle, I got knock down, I saw production company may not be suffi cient for stars and Peeni Walli.”. Just like Eek A Mouse sung the production company to be able to cover its it. I woke up in the hospital a few days later trying royalty obligations to those artists whose records to fi gure out who I was and what happen. Then have been commercially successful. the Love started rolling in. This is where I started to see there was more to this than getting knocked Billy Gibbons makes the cover of the 7th down. An overwhelming wave of love engulfed me Ownership of Masters issue of Two Louies (June 1980). The only and wash me up onto safe shore. So many people Typically, the major label, not the produc- non-Oregonian ever so honored. tion company, owns the masters of any record- come to my room, It was awesome! ings released and sold. Because the production And then your emails. As I read them, I wept, company is not acquiring any equity interest realizing what had happened in my short lifetime. I in the masters, unlike the situation with joint never thought I’d ever be smacked down like that. venture agreements, production deals are I also never thought that I would have ever been sometimes referred to as “the poor man’s joint the recipient of such wonderful blessings. This is venture.” a complete affi rmation that Music is a Universal Some production companies, however, have Language... Beyond Words, I thank you! • Established 1979 • been successful in negotiating for a reversion of TWO LOUIES PUB LISH ING that ownership to occur sometime after the end Joshua “skins” Mantle Editor: Buck Munger of the term of the agreement (for example, seven Graphics & Photo Editor: Buko to 10 years after the end of the term). Dear Two Louies TwoLouiesMagazine.com Art Director: If my information is correct, Tommy Thayer Deb McWilliams Writers: Editor’s Note: Bart Day is a Portland-based (KISS) appeared on the cover of your August 2003 S.P. Clarke • Bart Day • John Dufresne entertainment attorney in private practice and magazine. If so, what do I need to do to order back N.L. Fogerty • Den nis Jones is outside music counsel for Vivendi Universal Denny Mellor • Robin Rosemond Games, the computer games unit of Universal Stu- issues of this particular magazine? If at all pos- sible I would like to order 5 copies. Illustration: Tim Rutter dios. He is also VP of Business Affairs for Media Photographers: Creature Music, a Los Angeles music publisher and For the past 3 years I have been working on a book publication that describes 30 years of KISS David Ackerman • Buko catalog administration company. Gustavo Rapoport • Pat Snyder Bart is the co-author of a chapter (entitled and the Media. Part of that is for me to collect each and any cover magazine possible, which hopefully “Contracts and Relationships between Major Printed by: Oregon Lithoprint Labels and Independent Labels”) in The Musi- emphasises my interest in your ‘zine. Two Louies Magazine cian’s Business and Legal Guide, a book compiled 2745 NE 34th • Portland, OR 97212 by the Beverly Hills Bar Association and published I sincerely hope to hear from you. PHONE (503) 284-5931 by Prentice Hall Publishing (New York). Kind regards, Email addresses: The reader is cautioned to seek the advice of Jacques van Gool Editorial: [email protected] the reader’s own attorney concerning the appli- Gilbert, AZ 85233 Layout: [email protected] cability of the general principles discussed in this Web: [email protected] column to the reader’s own activities. © 2003 by Two Louies Magazine. May not be re pro duced in any form without the ex pressed writ ten consent of the publisher. Two Louies is avail able by subscription. LL LL Send $35.00 for one year, post paid.
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