2L DEC 01/32 - TwoLouiesMagazine.com · Wallpaper Music at the Long Goodbye. ... Starry Night,...

PRODUCTION/VENUE GUIDE

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OREGON MUSIC / DECEMBER 2001

TWO LOUIES, December 2001 -

LETTERSGC DROPS ADTwo Poopies,

Please cancel my ad with Two LouiesMagazine immediately...In reference toyour latest issue (Cool Nutz) page 29

Skinny White Shoulder...last paragraph...I find thatany future business with your magazine would beimpossible. Your guy Denny Mellor I guess is notinformed on how many things us “greedy corpo-rate owned chain-gang music store punks unfor-tunately not located in the World Trade Center”have done for the entire community of Oregon. Ican give you pages of schools, churches, and localbands that I have personally given my free timeand free loans of instruments, PA, Lighting, Per-cussion... you name it...to help facilitate the dreamof being a musician, or to inspire young under

privileged children a chance to participate in mu-sic.

I have worked in the music retail business inPortland for over twelve years...at three differentlocations..and never was given such an opportu-nity as what was given to me at Guitar Center...andI have been able to hire in my store the local talentand offer them the same opportunity. Maybe Mr.Mellor should spend a day at my side and he wouldhave a different opinion.

The tasteless comments that you allow in yourmagazine..i.e. World Trade Center reference, hasmade it clear to me that you guys don’t have aclue...how do you know that someone that worksfor this company hasn’t been affected personallyby the events of 9-11-01?

Brian HarrisonManager Guitar Center Beaverton(Ed. Note: Although we couldn’t find Guitar

Center’s name anywhere in Skinny White Shoulder last

month, Denny does admit he may have strayed over theline in making reference to the WTC. He says his focuswas meant to be on the catastrophic loss to Portland’smusic community with the bankruptcy of the city’s firstplayer-owned retail music store specifically for drummers;The Drum Shop. Established by Don Worth in 1958, whenPearl was a finish and not a line and the first generationof rock players was learning the drum parts to “PeggySue” and “Jailhouse Rock”. Our sincere apologies to anyGC employees who thought the shoe fit, and wore it.)

BILLY RANCHER LIVES!Dear Two Louies,

Thanks again to all those involved forthe hard work organizing the BillyRancher Tribute and kicking off the

Oregon Music Hall of Fame. Judging fromPortland's response, the efforts were timely. In lightof all that has happened this year, it was a great

J on Newton was a young, schooled, blue-grass violinist that listened to Frank Zappa.He left Portland to spend years on the road

playing “Classical Gas” with Mason Williams and re-turned home in ‘77 to join the Tu Tu band “About half-way through their run.” He quickly made a reputationfor himself in the club scene where he wrote riotousmusical concept shows featuring the Tu Tu players. Histotally hip musical theatrics developed huge follow-

ings among the rockers. He created , D’Anse Combeau, a smarmy French lounge singer played by Jim Baldwin.Their specialty; “Protest Songs To A Light Latin Beat”.Eve of Destruction cha cha cha. “Woodstock GoesHawaiin” was the Combeau blockbuster. Newton scaleddown with The Patios “Portland’s softest band. If youdon’t like our music, we’ll turn it down till you do.”They did “Some Velvet Evening-A tribute to NancySinatra”. In 1988 Jon left the club scene and worked

musical theater, directing the pit orchestra for over 50shows. In 1994 he became the Development Directorfor the Wil Vinton animation company, where he “cre-ated film and television concepts and pitched them inHollywood.” Newton did lunch with Eddie Murphy andthey created The PJ’s for Fox Television. Jon returnedto the club stage December 2nd to emcee the OregonMusic Hall of Fame’s Tribute to Billy Rancher at theRoseland Grill.

Photo: Michael Moran

LL

Continued on page 30

1980. Wallpaper Music at the Long Goodbye. Jon Newton on guitar.

- TWO LOUIES, December 2001

Continued on page 19Helio Sequence at Dante’s.


by Ford T. Pearson

photo Buko


Hand-Crafted Swankwww.bacchusrestaurant.net

Back in 1989 Tom Anderson was freshout of the army and looking for something interesting to do. He wound up

in Seattle and spent some time working for con-cert promoterAlbatross beforemoving on tothe Bower/Kinnear power-house MediaOne.

“I was acrew guy, youknow? I pushedthe casesaround,” saidTom from hisnew, custombuilt, palace inVa n c o u v e r ,Washington, theBacchus Restau-rant. “I spentyears doing thereal work so Iknow what’s re-ally involved inthe trade.” hecontinued.

Bacchus isthe only FiveStar joint in Vancouver. Its swankiness is exceededonly by its hip personnel. Tom knows the business.And he obsesses on every detail of the world inwhich he lives. When he and the owner’s son andmusician Lloyd Taylor, accompanied by ex-Roseland Chef and the designer of the RoselandGrill build-out Kevin Paul Connell, personally wenton the shopping spree that netted the profundityof in-house gizmonia designed to seduce both theaudience, and the artists performing at Bacchus,there was no exception to that rule.

Case and point? The place was built from theground up. Get that? One million bucks worth ofhand-crafted swank. Custom work, Bubba. Specifi-cally designed so that you can get your groove onin that Cadillac kind of style.

Bands will love Bacchus too. The SpectrumAcoustics installed sound system features a 24X8X2Allen and Heath GL4 mixing console with 10 aux-

iliary busses, mono three-way front end with in-dependently controlled center cluster, Yorkvillespeaker enclosures, 4 monitor mixes on 5 Yorkvillewedges mixed from the front of the house posi-

tion. There’s also tons of outboard gear and fulllighting equipment supporting the 12X24 archedstage.

Dennis Mincks is the man wielding this con-siderable amount of hardware. Bacchus chose wellwhen they tapped Dennis for the gig. Mincks hasover 24 years of live-sound experience and hasworked for everybody from Concert Audio toStarry Night, including a nine-year stint with theDan Reed Network.

Upcoming at the Bacchus in December is avery cool Christmas show on the 19th featuringthe Inkspots. Following that, on Monday the 20th,is a rare performance by Victoria Corrigan withthe Donny Osbourne Trio, and if you’re craving alittle funkiness for the new year, check out theirfirst annual New Year’s Eve party with Da Funk.Bacchus (360) 882-9672

Hall Of Fame Magicwww.oregonmusichalloffame.org

Prior to the Billy Rancher Tribute event,the last time I heard Rocky Road live was1983 at LaBamba’s. I was 20 at the time,

but my ID said I was 23 and I had been work-ing for Two Louies Magazine for about 3years at that point. Billy’s PDX play-cir-

cuit back then was mainly LaBamba’s, LungFung’s, Casey’s Coral and a few others. He packed‘em in wherever he played, but LaBamba’s was myfavorite venue at which to catch Billy’s show. Heand the Unreal Gods always seemed extra “on”there, and I saw and heard magic happen manytimes.

At the Oregon Music Hall Of Fame’s RancherTribute, Sunday,December 2nd, Isaw and heardthat magic again.And I experi-enced the powermusic has tokeep a personand a legendalive long afterthey have left us.

I arrived atthe RoselandGrill that Sundayat about 3:00PM,and the joint wasalready jumping.Smokey Wymerand his crew ofgear-gurus fromGuitar Centerwere 90% donewith the load-inand were busilysetting up thestage.

And vid-vetDavid Jester was in the process of setting up hisvideo recording and playback gear. Jester and hiscrew (David Ashton, Frank Mahoney and BarryKaine) set up a mountain of equipment, includinga giant screen TV, through which the lucky crowdin attendance got to watch about an hour of BillyRancher footage shot by David over the years.David is the wizard behind the curtain. Big time.David mixes video footage from multiple sourceson the fly and purely by feel. At one point, heblended the imagery from the live recording of theUnreal Gods’ (with Lenny Rancher) performanceof Used To Hang Around with classic footage of Billyand the Unreal Gods performing the same song,almost perfectly synched. Spooky-cool huh?

Ever just hung back and watched the set-upfor a sizable event? It’s quite mesmerizing. Lots ofpeople running around, climbing up scaffolds, wir-


In the late nineties I took a fun gig at a fledgling local indie record label, Eon Records. Iwas excited to deal with the two aspects of the

music business I had not touched on yet in my musicindustry career-radio anddistribution. The road toreaching the masseswith a song was andstill is paved with ra-dio and distribution-getting the song totheir ears and placingit conveniently forthem to buy. Now, ofcourse, indie has thepower of Internet tohelp with this trick, butlet’s not be fooled- thepower is still in thehands of corporatewhitey. Ahhhh, theenigma and power ofradio- Impossible to geta song on the radiowithout a corporaterecord deal and impos-sible to get a majorrecord deal without cre-ating songs to fit the cur-rent pop mold.

At Eon Records, aharder rock label, therewere about four rock actsI would have signed hadI the power to do so.NineVolt Mile, Gravelpit,Smooch Knob and what isnow Craving Theo. All fouracts had those certain qualities I considered necessarystrengths, before a partnership of heart, art and busi-ness could take place. Top on my personal list were andstill are; controlled egos, good business, musical chops,hard workers, the ability to promote and put on a goodconcert and the presence prolific hit song writers.

Jumping forward to autumn 2001 to a SmoochKnob, Gasoline Kings Blue Headz show -at Dante’s. Thehaircuts were definitely out as the rock musicians werethick-as-thieves for thisshow. I had cocktails andstories with Calvin Batyfrom Craving Theo (Co-lumbia/Sony) andDonnie Rife fromSmooch Knob (Break-neck). Both acts currentlyare enjoying regular radioplay and have come aboutit in two very different andtwo very legitimate ways.I was sporting a pink aurahalo that night as the sto-ries of these musicians,starting to taste the suc-cess that only radio playcan bring, got me to smileand be genuinely happythat more home-boys arepopping out of Portland.

From my point of view, Smooch Knob and Crav-ing Theo do have a few things in common. Great gui-tar driven hit songs, long and dedicated music careersfor all the musicians involved and disturbingly, both

acts get a bit of grief from other musicians in town. Ihear the scuttle on the street from the industry peopleI have known throughout my days of working the Port-land indie scene. Most acts want airplay, record deals

and money for their songs.When another group scores

some coveted prize (ra-dio play, management,press, record deal, cooltour) the dissing starts.I’ve seen this closelyplenty of times. In-stead of taking notesand working harder,instead these bandscomplain “Our songsare better than so-and-so, so-and-so must

‘know somebody’at thestation, at the label, in LA,bla, bla, bla, wha, wha,wha.”

This radio play forboth Craving Theo andSmooch Knob unfortu-nately only increases thesour graping of other acts

and this is again because ofthe power and enigma of

mainstream radio, which byits very nature, is out of reach for most local acts. Ad-mittedly, Craving Theo has had the rare benefit of pri-vate funding to help open doors for their management,promotion, and publishing and record deals. Honestlythough, the door would have slammed shut if there werenot songs and performances to back up the promo-tion. So far, Craving Theo is strolling through the doors.Mid November brought their debut song, Alone, to theActive, Modern and Pop Rock stations.

The Craving Theo songs are catchy enough thattheir publishing deal with Warner-Chappel is as strongand extensive as their record deal with Columbia/Sony.Andy Gould of The Firm (which handles 45% of theplatinum rock acts) is now representing Craving Theo

as they make their video in LA this month, sell theirrecords, tour the US with acts such as Seven Dust andDrowning Pool and get those precious spins on the ra-dio. The publicist for this band is obviously a gem aswell-they were featured in two national industry rags,Guitar World and Alternative Press which prints “Crav-ing TheoÖa force to be reckoned with in the New Metal”genre. (For any other dummies like me New Metal cov-ers acts such as Limp Bizkit and Linkin Park). This acthas high level executive support within the manage-ment group and their record label, which can only be asign of great talent and potential.

Craving Theo is taking the airways the traditionalroute. The command to the Program Director (PD)comes from God, at the top, where the record promot-ers for major labels (and ultimately the band throughrecoup) have bought and paid for airplay. And to thepeople who think that payola for airplay left with an-

other era, I still have some seats for sale in my rocketshipto Mars. Most songs still get to the radio because some-body, usually a label, has paid gigantic sums to one ofthe select few radio promoters to pocket and pass alongso that the PD of the stations will take their weekly Tues-day phone calls. $10,000 per song per station is not un-heard of. Microwaves cigars & candy, girls and toasterovens help with airplay as well.

KUFO and their highly respected PD DaveNumme, has been the main ally for Craving Theo inPortland. It is an ‘active rock’ station, which plays thelouder harder rock music in town. Don at KUFO sayshis station has been a supporter of Craving Theo longbefore they were signed. He acknowledged the station’sreceipt of the new single “Alone” the day before we spokeand it seemed to be of no surprise to him that the newsingle is coming from the promoters this time. Also, I’dlike to comment, even the radio station is familiar withthe jealousy from other local bands towards acts suchas Craving Theo who have popped out of indie, and itwas actually the station that brought up the subject.

The ‘sell out’ and ‘no street cred’ comments spoutfrom the musicians in the trenches loud and clear, butsaid musicians would be liars if they claim they wouldnot like the success that mainstream radio play canbring.

Craving Theo has made a recording with plati-num producer Rick Prashar (whose most recentproject, Nickleback, went platinum after 6 weeks) atLondon Bridge. Their song is short, clean and in theNew Metal format that their selected stations want toplay.

Currently 25 stations across the country are play-ing ‘Alone’ and play continues to increase. ‘Alone’ isregistered with BDS (Broadcast Data System) which isthe airwaves tracking system. R & R (Radio andRecords) is the charts for airplay and they pull directlyfrom BDS. Columbia Records and every other labelhave a guy pulling info from these sources daily on theiracts. Between counting spins and the record salesthrough SoundScan, (the music store bar code salescounter) an acts success can be followed closely.

Smooch Knob is a Portland independent bandthat does not have the $75 a pull to get a regular BDSreport on the number of radio spins they are receiving.

by Salvey


photo Shane Brant

photo Buko


Open Roads— Julie LarsonBlyss Music

Portland is a city long blessed with morethan its fair share of talented womensinger/songwriters. Beginning in the late

‘70s with Rindy Ross of Quarterflash and extendingto the present day, the succession is nothing short ofregal, to say the very least.

Following a career trajectory not unlike one ofthe aforementioned royalty: McKinley, Julie Larsoncame to a career in music rather late in life, begin-ning her apprenticeship in her mid-twenties; even-tually releasing her first album, Freedom, in 1999.

However, her kinship with her music has alwaysremained strong— even through the years when shewas unwilling to allow the outside world to expressan opinion toward her music; thereby disallowing thepossibility that everything witnessed is altered by theobservation.

Now in her early thirties, Larson is of an agewhere she is better able to express her musical emo-tions, without tearing the fabric of her being in theprocess. Here she quilts a coat of many fine and subtlehues, displaying deft sensitivity as a wordsmith, aswell as a knack for giving voice to disconcerting vo-cal melodies over evocative chord progressions onthe piano.

Following the lead of yet another majestic localchanteuse, Kaitlyn Ni Donovan, whom Larson sty-listically sometimes resembles in many myriad andintrinsic ways, Julie enlisted the aid of Tony Lash toproduce the ten songs she presents in this project.

As usual, Lash does more than simply act as al-bum producer. He lends his services on drums, gui-

tar and a variety of keyboards (including the bizarreOmnichord), as well as providing an array of loopsand other programming skills.

In addition, Julie elicited musical contributionsfrom bassist Phil Baker and drummer Jeff Anthony,with added percussion from Greg Williams and gui-tars from Andy Harrison and Jonathan Drews (whohas also accompanied Kaitlyn on several of her re-cordings).

A seductive number, “Calling” leads off the set.Over a spongy Wurlitzer electric piano figure, Larsonsings the poignant lyrics in a measured soprano reg-ister— a dead ringer for Ni Donovan’s emotive, whis-pered phrasing. The chorus is very nice, calling tomind Loreena McKennitt.

Fans of Shawn Colvin (or Nicole Campbell) willappreciate “Paint,” its plaintive chorus haunting theedges of recollection as fog clings to early morningstreets. A pretty change of pace, “Waiting” easily couldbe taken from Tori Amos’ first album Little Earth-quakes. At first, it’s a simple contemplative ballad,consisting merely of vocals, piano and distant, an-gelic keys; before the drums and other instrumenta-tion join in a full minute into the song. A lovely,hymn-like chorus resembles Dido, Tori Amos andElizabeth Fraser of the Cocteau Twins, among oth-ers,; with Julie trilling softly through the resolutions.Very nice.

A string quartet waltzes “Beyond,” a studiedpiece, perhaps a bit predictable. On the other hand,the Mitchell Froom-like mechanical quality in theproduction of the title track, “Open roads,” makeseasy any comparisons to Suzanne Vega. Murky gui-tars murmur beneath flutey organ pads, as a metro-nomic drum machine whirs away at the center. Julie’svoice cuts through the atmosphere as a mother’shome-beckoning voice cut’s through a child’s evening

of play.“Rain” gently pitters and patters, before thun-

dering to life toward the middle of the cut. Buzzingguitar tones play against slapping organ fixtures, asLarson sings her tale. Her voice here, as always, allur-ing and siren-like, although it is generally impossibleto tell what it is, exactly, that she is saying lyrically—much like an American version of Elizabeth Fraser.

Moaning cello lines sustain “Turning Point,”over an insistent kick-drum beat and a variety of handpercussion. Surprisingly, this is one of Larson’s moreaudible lyrics, since its theme seems intimately per-sonal in nature.

Tori Amos and Kate Bush seem to be the influ-ences on “Timeless.” “When I scatter about, the greatcircle keeps me going/In obstacles are manifest an

honest reason in the morning/She becomes, she be-comes the earth.” A pantheistic paean to uncertaintyand indecision.

Sounding very similar to Dido’s “Thank You,”“The Master” begins with a creaking drum loop. aug-mented by a simple guitar figure and random elec-tronic noises. Tony Lash’s genius is everywhere evi-dent and neatly contained within this track.

Coming closer to Sarah McLachlan, “Run” tracesfamiliar territory. A memorable chorus helps to lockin the sentiment, though overall, the song lacks (forbetter or worse) McLachlan’s penchant for over-emoting.

Julie Larson proves herself worthy of claim toher share of praise as yet another in the amazing lo-cal lineage of fine female singer/songwriters. Whileat this stage in her career she is still feeling her waysomewhat, perhaps more imitative of her influencesthan she might be in the future. But, just the same,this is a fine piece of work from a very talented artistin our midst.Let Me In— Bobby BirdmanHush Records

One of my favorite things to do is to fallasleep while listening to music on headphones. There is that brief, but exquis-

ite evanescence that descends just before droppingoff to sleep, that seems like a brief, sublime glimpseof heaven. It is precisely that sound (or space) thatBobby Birdman has captured on this ten-song mas-terpiece.

Bobby Birdman is the pen-name of RobKieswetter, an enterprising young singer/songwriterwith a musical umbilical cord that stretches back toBrian Wilson, in the acid-laced haze of his Smile pe-riod; and beyond, back to the days of Juan Esquiveland cool bachelor pad music.

Combining laidback (think: nearly uncon-scious) arrangements, which seem to pro...gr...ess at...halffff..... s...p...e...e...d— a drowsy saunter of a pacethat sticks to the inside of yer brain like sonic peanutbutter. For an example, consult the funereal waltz of“I Must Admit That I Love You.” Occasional autoharpstabs are propelled by a white noise snare and a flick-ering metronome-like sound, as Rob purports to clueus in with “I’d been away for a spell I was under/Con-trolled by an abscess or absence of wonder/But beautywill come and recline/Dressed in a shield made oflight.”

Still, Kieswetter’s inventiveness and spirit of ex-perimentation abound throughout this imaginativelyconstructed album. Kieswetter refers to many experi-



Rosebud

LL

I’ve been listening to Christmas musicfor a solid week and I can’t be responsible for my actions. It’s that dreaded

time of year when the words joy, cheer, and peacefloat by your eyes and through your ears. I’ve beenworking onThe Singing

Christmas Tree (known back stageas The Singing Stump), a Portlandtradition since 1962.

What started in a small localchurch with optimism, zeal, a bud-get of $500 and lots of faith, hasturned into the most ecumenicalevent in the city of Portland. Work-ing on the production is a marathon,and I’m happy to report that it’s al-most over at this writing and no onesbeen hurt.

When the load-in started at 8:00am on Thursday, November 15th, wedidn’t unload the 30-ton tree until thesecond day. It literally took ten stage-hands with a bull line, 16 rubber tiresand a hydraulic system to get it out ofthe truck. There was a lot of excite-ment as we added 1,860 bulbs on 108circuits, not including bee lights,drops, curtains, swag, bows, artificialtrees and poinsettias done under thesupervision and keen eye of Gene Dentfrom Studio Concepts. Gene has beenworking with the Tree people (OneVoice Productions) for 27 years, and hiscrew from Studio Concepts is CrackerJack, especially Demetri Pavlatos whois the nuts and bolts guy and GregTamblyn who Directs the cast. Gene is the vision-ary who knows all there is to know about thisproduction, and he gets it done every year in finestyle.

Back stage there are so many people (180people in the tree, as well as hundreds of singers,children, volunteers and production people.) thatits mind-boggling. Every inch of the Keller Au-ditorium is utilized for this event. Now that theshow is up and running, I patiently stand backstage waiting for my cue to set the baby Jesus inhis straw and wood manger. When I’m not wait-ing for a cue, I listen attentively to the quartetRescue, they do incredible acappella harmony onSilent Night, Xmas to Remember and Mary Did

You Know. The boys can sing.Mel Brown is in the pit on drums following

the Conductor, Jim Boechner who’s been with theSinging Tree for 23 years. The Singing Christmas

Tree is a spectacle unparalleled,but I wouldn’t recommend it toanyone who is not into tradi-

tional Christmas fare.

When I’m not sweeping up snow backstage, I’ve been listening to my pick-of-the-

month Love Shelby by Shelby Lynn. I saw her onLetterman and boy was she ever sexy. I like “WallIn Your Heart” which has hit potential. Glen

Ballard, who produced Alanis Morrisette’s JaggedLittle Pill, has proven that he works well withwomen and seems to genuinely get the best outof them. I feel a great sadness coming from ShelbyLynn that is beautiful. She has a sleazy and dan-gerous sound that rocks, although her countryroots are showing. Shelby wrote a song “I Can’tWait” about not being able to wait for a day whensomebody says they love you. I think a lot ofpeople feel that lately. We ache for tomorrow,watching clocks, biding time, as dreams don’tcome true. It’s such sweet stuff. Her sound is remi-niscent of the Beatles, and hearing her singMother by John Lennon is terribly nostalgic. TheCD packaging is not as attractive as the black andwhite shots of Shelby on I am Shelby Lynn, but

the record still delivers.I went to see Tool at the Me-

morial Coliseum. Man, they wereloud. I hadn’t been to a Monquishow in a while and it was good tosee Mike Quinn and ChrisMonlux. I still think they’re two ofthe best looking men in Portland.I was with Monlux earlier thatevening at a birthday party at BlueHour. It was quite the gathering. Ifelt like a million dollars attend-ing the event with my son whomI always feel proud to be with. Hejust looks good and is so sweet.He escorted me to Tool, then wewent to My Father’s Place wherewe had a nightcap and watchedthe cute kids drink and smoke.

On Thanksgiving, my hus-band and I cooked all day and afew special people came over. Weate turkey and then listened totapes of Ken Kesey, who didn’tmake it through surgery for livercancer. We listened to him talkabout many things, but the thingthat struck me most was hislaugh and great humor. He’s oneof Oregon’s great writers and the

comic scribe will be missed. We lit candles,burned some cherry wood in the fireplace, and

talked late into the night about Ken. Happy Holi-days!

Write to me: [email protected]


LL

RELEASING YOUR OWN RECORD:A LEGAL CHECKLIST

For artists who are releasing their ownrecord for the first time, without the involvement or assistance of a label, the pro-

cess can be a little intimidating, and it can be easy tomiss some key legal details in the process.

Therefore, here is a very basic checklist of issuesto be considered when releasing a record. Bear inmind, though, that your own particular circumstancesmay dictate that you take certain steps which are dif-ferent from, or in addition to, the various steps men-tioned below. Also bear in mind that, due to spacelimitations here, it has been necessary to greatly over-simplify some of the issues discussed below.

1. Agreement Between Members of Group. Ifit is a group (as opposed to a solo artist) releasing therecord, and if the group has not already formalized itsrelationship by way of a partnership agreement, in-corporation, or limited liability company (“LLC”),then there should at least be a clear and simple agree-ment among the group members about how the fi-nances of the recording project will be handled. Also,incidentally, it is always a good idea to deal with theissue of the ownership of the group’s name as early inthe group’s career as possible.

2. Investors. If there are investors involved, cer-tain documents will need to be prepared, in order tocomply with certain Federal and State securities laws.Be especially careful here.

3. Distribution and Promotion Strategy. Thinkahead about how the record will be distributed, ad-vertised, and promoted, and how much money willbe needed to effectively market the record. Sometimesall (or almost all) of the budget for the project is spenton recording and manufacturing costs, and there islittle or no money left to effectively advertise or pro-mote the record. This, of course, is not really a legal

issue, but is such common (and often fatal) problemthat I feel obliged to mention it here anyway.

4. Mechanical Licenses. For any cover songsappearing on the record, you must obtain a mechani-cal license from the owner of the song (i.e., the song’spublisher), authorizing the song to be recorded, andproviding for the payment of mechanical royalties. Inmany cases this license can be obtained from TheHarry Fox Agency (212/ 370-5330, orhttp:www.nmpa.org). Allow six to eight weeks for thisprocess.

For songs not licensable through Harry Fox, youmust contact the publisher directly. Usually the easi-est way to do so is to obtain the publisher’s contactinfo from the “song indexing” departments at ASCAPand BMI.

5. Sampling Clearances. If you are includingany samples on your record, you need to obtain sampleclearances from the publisher of the song sampled andthe label which owns the master being sampled. Do

this as early as possible, as there will be some instancesin which either the publisher or label will not be will-ing to issue a license, or the licensing fee which theyrequire may not be affordable.

6. “Work for Hire” Agreements. For any ses-sion people, engineers, etc. whom you are hiring, it iswise to have them sign a short and simple “work forhire” agreement, to preclude any possible future claimsby them that they are owed royalties or that they haveownership rights in the masters.

7. Producer Agreement. If you are using anoutside producer, there needs to be a producer agree-ment signed, defining (among other things) how thevarious costs of the recording sessions will be handled,what advances (if any) will be paid to the producer,and what producer royalties will be paid to the producer.

8. Production Credits. Make sure that the pro-duction credits listed in the liner notes—for sessionpeople, producers, and others—conform to any con-tractual requirements. For example, the produceragreement will often be very specific about how theproducer’s credits are to be listed. For musicians per-forming on the record who are signed to a label, theywill normally need to be credited as appearing “Cour-tesy Of” their label.

9. Liability Releases/Permission Forms. Youneed to consider the possible necessity of getting a li-ability release or permission form signed in any of thefollowing scenarios: (a) If a photograph and/or artis-

tic image of an individual outside the group is includedin the artwork, (b) If any of the artwork which youare going to use is owned by any third party, or (c) Ifany logos or trademarks owned by third parties ap-pear in your artwork. There can be some tricky legalissues in this area, so be very careful here.

10. Copyright Notices for Songs. Be sure thatthe liner notes contain the correct copyright noticesfor all of the songs on the record, i.e., both for youroriginal songs and any cover songs which you are us-ing. Information about copyright notices can be ob-tained at http://lcweb.loc.gov/copyright/ Also, makesure that the song credits correctly state for each songthe name of the song’s publisher and the publisher’sperforming rights society (i.e., ASCAP, BMI, etc.).11. Copyrighting Your Original Material. Certaincopyright applications need to be filed promptly foryour recordings and for your own original songs. Use“Form SR” for copyrighting the masters of the songs,“Form PA” for each of your original songs on the

record, and “Form VA” for the artwork (if you ownthe artwork and want to copyright it).

12. Registering Your Original Songs with BMI/ASCAP. Assuming that the record contains one ormore songs which you have written, and assuming thatyou are affiliated (or are becoming affiliated) withASCAP or BMI, you will need to file “title registra-tion” forms for each of your original songs appearingon the record. This will enable your rights society (i.e.,ASCAP or BMI) to monitor the airplay of your mate-rial.

13. Trademark Notices/Registrations. Be verysure that you have the legal right to use the group nameand label name which you have chosen, and considerthe advantages of filing trademark applications forthose names. Also, make sure that your liner notes

contain a proper trademark notice for the name ofyour group, and (if applicable) the name of your ownlabel. Information about trademark notices can beobtained at http://www.uspto.gov/.

14. Obtaining A Bar Code. For informationabout bar codes, check out the following website: http://www.adams1.com. Or call the Uniform Code Coun-cil at (609) 620-0200 (Lawrenceville, New Jersey).Many CD/cassette duplicators will, as part of their ser-vice, provide you with a bar code for your record. Askabout this when selecting a duplicator.

Hopefully, the above checklist will help to reduce,at least slightly, some of the stress and strain of put-ting out your own records. The key, of course, is tothink ahead as much as possible. Some of the stepsmentioned above, such as obtaining sampling clear-ances and mechanical licenses, can take some time,and a lack of planning can unnecessarily increase yourcosts and/or delay the release date.

By thinking ahead, the odds are much better thatafter the record is released, you will be able to spendyour time and budget effectively promoting the record,rather than having to spend time doing repair dam-age.

Editor’s Note: Bart Day is a Portland-based enter-tainment attorney in private practice. He is also a part-ner in ALLMEDIA, Ltd., a company with offices in Port-land and Los Angeles. ALLMEDIA specializes in admin-istering the licensing of music for film, television, com-mercials, and websites, and represents various recordlabels, independent music publishers, and Internet com-panies.

Bart is also the co-author of a chapter in TheMusician’s Business and Legal Guide, a book compiledby the Beverly Hills Bar Association and published byPrentice-Hall Publishing (New York).

The reader is cautioned to seek the advice ofthe reader’s own attorney concerning the applicabilityof the general principles discussed in this column to thereader’s own activities.

Success, the old-fashioned way.Make your indie record. Schmooze a local

radio station to play it. Get a major labelinterested. Sign a deal and move on to the big time.

Could be the Legend of Craving Theo.The original

Craving Theo indiealbum featuringsinger-songwriterCalvin Baty will bere-released onColumbia Recordsafter the first of theyear. The first single“Alone” (No More)was issued to radiostations across thecountry November6th. The first week ofrelease “Alone” wasthe second most-added track atRadio & Records.

The single“Alone” is #42 onR&R’s Active Rockcharts. AlternativePress calls CravingTheo’s bag “NewMetal”.

The bandcredits Portlandstation KUFO for generating the buzz that scoredthe deal. KUFO jumped on the indie single“Stomp” with both feet, spinning it often enoughto push it to #1. Meanwhile, KNFX in Sacramentoalso went on “Stomp” and it climbed to #1 at thatstation as well.

The radio heavies were watching.Columbia signed the band after strong

lobbying by the label’s head of Special Projects“Kid Leo”, who became a legend in radio when hewas credited with breaking Bruce Springsteenduring his stint as a jock in Cleveland.

Craving Theo on Columbia will be in storesJanuary 22nd.

��That’s how it happened for Art Alexakis.In ’94 Capitol picked up his “World of Noise”

indie album on Portland’s T/K records (rumoredto have cost $800 to record) and issued it as theirfirst Everclear album. Then came the platinum-plus breakthrough album “Sparkle & Fade”, thedouble-platinum “So Much For The Afterglow”

and most recently the two-part “Songs From AnAmerican Dream”

The first American Dream disc started outas a solo album and became an Everclear projectwhen the recordings without drummer Greg

Eklund and bassist Craig Montoya didn’t cut it.Art re-recorded the material with Greg and Craigand re-named it EC’s Part One “Learning HowTo Smile”. Part One sold much better (debuted at#9) than the harder rocking Part Two “Good Timefor a Bad Attitude” (highest position #66).

Good Time for a Bad Attitude was originallyscheduled to be the Everclear album releasedbehind the solo project.

Art still has the Me Fever.“I’m not defined by Everclear,” Alexakis says

in Billboard (12/1), announcing he will be tryingyet another solo Capitol album after the first ofthe year.’“There are things I want to do, even ifthe music isn’t worlds away. This can be just mything; it’s not a committee.”

��Mick Jagger knows about committees.The Rolling Stones’ frontman’s new solo

effort “Goddess In The Doorway” sold a miniscule2,324 units in the first week of release in theUnited Kingdom.

��Even Jeff Trott passed on Mick Jagger.Rather than stand where Keith usually is, the

BMI Songwriter of the Year ’98, decided to stayhome in Portland with his family and work on

the preparationfor the release ofhis album “Dig UpThe Astroturf ”February 19th.

The albumwill be released inDVD-A.

��It’s baaaacck.That music

community spiritthat drove BudClark’s 1985Inaugural Ball toflourish into ther o c k - n - r o l lMayor’s Ball thatran all eight yearsof Clark’sadminis t rat ionand annuallyshowcased thecream of Oregon’soriginal musiccommunity and

only stopped because it was a no-win situationfor the new Mayor; Vera Katz.

If it continued a success, it would always be“Bud’s Ball” and if it ever failed...

But now, the Ball Spirit is back.Backstage at the Oregon Music Hall of Fame’s

Tribute to Billy Rancher the levers of operationwere in the same hands that launched the Mayor’sBall.

There was emcee Jon Newton on themicrophone. There was Tony DeMicoli setting upthe bar tab for the crew and making sure therewas plenty of imported beer in the musicianslounge. There was David Leiken watching ithappen in his house. There was David Jestercovering it with 3 cameras. There was Gary Ewinghanding out his art. There was Ford Pearsongreeting a gaggle of VIP’s at the door. There wereBilly Triplett, Mick Boyt and Gene Cavenailetweaking the sound.

And the music...Jon Koonce making it worldclass.


photo David RobertCalvin Baty; now on Columbia.

Jon DuFresne, in from Los Angeles, bringingus up to date.

Todd Duncan and Lewis Livermore blowingtheir brains out. Michael J. Kearsey anchoring thebottom.

The Unreal Gods ruled.Jon DuFresne emerged as the standout talent

of the night drawing attention even in a pack ofsharpshooter guitarists including OMHOFmembers Jim Mesi and Jon Koonce. DuFresneplayed with a self-confidence seldom seen outsidethe majors. Consensus among players was that hehad progressed “several” levels since his days asthe disciplined, tasty, parts-playing lead guitaristfor the Billy Rancher band. “I was always a littlebetter than I was allowed to show in Billy’s band,”says Jon.

DuFresne now plays with drums and bass inThe Mickey Marz Blues Party, fronted by chicksinger Mickey Marz. The band is a Los Angelesrarity. “We get paid...” Says Jon “We work placeslike the Studio Suite, The Classroom and theCinema Bar & Grill.”

DuFresne wasn’t the only unreal player at theTribute to Billy Rancher.

Dave Stricker could play bass for anyband in the world. He drives like a trainand Billy Flaxel plays drums like alinebacker. Alf Rider-Wolf arrivedfrom New York with his own smartmedia card for the borrowedYamaha Motif 8.

This was a great band then,and they were a great band at theRoseland. Former Ranchermanager Steve Hettum hasmorphed into a performer himselfand gave several of the mostinspired interpretations of Ranchertunes.

“Steve got the whole RancherTribute thing started,” Said oneOMHOF steering committee member.“He was the guy who reminded usthat it was 15 years since Billy hadbeen gone but we’re all still whistlinghis tunes.” —

The OMHOF steeringcommittee introduced a keymember at the Tribute.

Houston Bolles.Once Billy Rancher’s

teenage protege now a thirty-something legal beagle with aninterest in Oregon’s musical

history and a talent for dealing with musicians.Houston created and rehearsed the Boom ChuckSextet house band made up of members of severalformer Rancher bands who probably didn’t evenrehearse in the glory days. The night of the gig,everybody shined. Drummer Pete Jorgusensounded better than ever on the made-in-OregonAllegra drum kit. Guitarist Frank Stewart had thetone of the classic Billy parts nailed.

Just several hours before the show, Houstonand Billy’s brother Lenny Rancher moderated theactual musical reunion of the Unreal Gods at KungFu Bakery recording Studios.

LLphot

o Bu

ko


��The Kung Fu Bakery is cookin’Security is tight in the kitchen but the best

guess is Art Alexakis is there now producing theMinneapolis band Flip for his new labelPopularity Records.

Kung Fu Bakery studios just installed theguitar trophy from the last Billy Rancher MediaInvitational softball tournament on the wall. TheOregon Rock Allstars, whose roster includes thestudio’s partners Tim Ellis and Dave Stricker, lastwon the icon.

��Dr. Music Man...Name the Portland Corporation that owns a

Nashville music publishing company, a recorddistribution network, and several national recordlabels. Hint: They also own a Portland radiostation and a local bi-weekly newspaper.

You got it.Pamplin Communications (Portland

Tribune -KPAM) is a major player in the nationalmusic business and until recently, a strong

presence in the Nashville music community.According to a story in Billboard

(12/1) Pamplin is folding the tents inMusic City...“A tumultuous year forPamplin Communications’beleaguered music division draws toa close as the company shutters itsdistribution and music publishinginterests and the Pamplin Recordsdivision, home to the Pamplin,Red Hill, and PreferredRecordings labels.”

“The label closings affectPamplin artists Natalie Grant,

Sierra, Nikki Leonti, Aurora, andJohn Elefante and Red Hill’s Katy

Hudson and Kindred Three.”Grant’s manager says the

closing is a “blow to the entirecommunity.”

BB reports “Several key executiveshave exited the 6-year-old company in the

past year, including president/vicechairman of Pamplin CommunicationsGary Randall and executive VP of PamplinMusic Group Mike Schatz, fuelingspeculation that the company was introuble.”

We got trouble right here in RiverCity...

Lenny Rancher & Houston Bolles.


Continued from page 7


mental musicians, such as Lamonte Young, Yoko Ono,Kathy Berberian, John Cage and Harry Partch in cre-ating some tracks. Check out the crazy waltz rhythmof “J Tear,” created by multi-tracking himself count-ing to three, then breaking these components intohypnotic fragments, which bob upon the surface ofconsciousness like leaves upon a still lake.

Another example of Kieswetter’s cleverness isthe beat derived from the simple act of breathing—which extends through the suite of “Such An Icy Feel-

ing” and the title track, “Let Me In. “ Radiohead-likedigital manipulations beep and zibbet over Rob’sdeep-breathing percussion. Very cool.

A seriously syncopated drum loop drives ”Mov-ing On/Up,” as Rob accompanies the beat with ear-nest nylon-string acoustic guitar and random inter-mittent synth interjections. His ethereal vocal createsa distinct ambiance sort of like Lennon meeting Ma-jor Tom at Woodstock in 1969 to split a hit of brownacid.

“Golden Arms” is a transfixing spacewalk, wherebackwards guitars sweep and swirl aroundKieswetter’s detached vocals, as moody organ pedalpoints follow along. Strangely mystical and weird.After about three minutes of waltzing around withRob’s ciphering, “J Tear” eventually evolves into alovely little ballad, replete with Beatle-esque back-ground vocals, abetted by Abra Ancliffe. “Hey Now”more or less continues the mood-altering mood, withZak Riles adding mournful violin lines to the mix.

The Beach Boys spring to mind on “Blue Skies,”with chiming background vocals sustained againstbouyant acoustic guitar, maracas and other percus-sive manifestations. “Perfect For Light” is the moststraightforward number of the set, one simple vocaland two indistinct acoustic guitars.

Rob Kieswetter is a 21st century troubadour,who combines modern electronic elements and con-cepts with off-kilter ballads, producing strange, sub-liminal music that should only be listened to at theedges of sleep, where it all makes utter and completesense; and where Rob is regarded as a brilliant artis-tic prodigy.A School Of Secret Dangers— Amy AnnelleHush Records

Amy Annelle blew in to Portland from Chicagoin early 1998 and has slowly carved out a name forherself on the local level, both as a solo act and as amember of the band the Places. Her first album,Which One Are You,, released late in 1999 met with

widespread critical acclaim, as did the Places release,Autopilot Knows You Best .

This release was recorded over a span of fouryears (including a couple of songs recorded in theChicago days). All of the tracks were committed to afour-track cassette deck and, for that reason, bear adistinctive lo-fi appeal. Despite (or because) of thoselimitations, Amy is given an intimate setting that re-sembles somewhat a modern campfire . Picture per-haps, folks gathering around an electric heater to singsongs and spin tall tales.

Whatever the case, the first song “The Birds StartTalking English,” is a fine example of all of the above.An old country music song twangs on in the back-ground as Amy winds up her singing machine andout comes a lonesome prairie ballad, replete with

clip-clopping percussion and stereotypical Westernriff. Amy’s husky contralto and circumspect deliveryare reminiscent of ‘70s folkie Mary McCaslin.

A lonesome folk ballad, “Broke Down” is filledwith a sweet forlorn quality in Amy’s dusky, melan-choly susurrations. “Ugly Stray,” the sad story of anunwanted creature (dog, cat, human), sounds a bitlike Suzanne Vega in the early days, singing a VictoriaWilliams song. “Will Try” is a piquant little song, thatcaptures nicely Amy’s spirit of cautious optimism.“How could you see a different moon?/There’s onlyone to find/Strawberries will come in June/Andmaybe you’ll be fine.”

The high point of the set is the pretty “Soft City,”wherein Amy’s melody fits the lyric like frost on awindshield. Layers of simple guitar create effectivebacking, as Annelle sounds a mournful tune. “Idaho”

too rings with compelling beauty. “Cast off your be-longings/Let the rain fall on the awnings/And ageeach day a hundred years/Til you’ve grown as old asthe sea/At night a sleepy thousand years/Old as therocks and the trees.”

“Litch” seems to be the story of some sort ofBilly Bob Thornton character, but the chorus is in-teresting in its chromatic splendor. “Nothing” seemsto apologize for not meeting someone else’s expecta-tions. “What Is It This Time” seems to take task atsomeone for not meeting her expectations.

Amy Annelle displays fulgent talents asongwriter and singer. This album is an unadorned,grass roots exhibition of the maturation of her abili-ties in both categories. She is a fine singer, with a voice

that imparts emotion, while remaining somewhat icyand distant. Like Liz Phair or Vega, there is sensitiv-ity, but not necessarily a sense of vulnerability. Beauty,but not fragility.Sweet Ride Home— The Sugar BeetsDeep Rootz records

Lately moved to Portland after thirteen years inthe mid-valley, the Sugar Beets were voted Eugene’sbest band in 1999 in an Eugene Weekly poll. Theystarted out as a jam band at U of O in the late ‘80s,developing what they call Psychedelic Bluegrass or“groovegrass. There are Bluegrass elements, but theband touches on other styles as well. It’s an eight pieceunit, featuring a diversity of instrumentation, includ-ing guitars, keyboards, violin, mandolin, sitar; as wellas sprightly multivoice harmonies, layered over en-ergetic arrangements. Most of the songs contain somesort of airy New age philosophy, ostensibly conceivedto uplift the spirit in these troubled times.

The subject matter is diverse. There’s a song(“The Rubiyat”) inspired by “The Rubiyat of OmarKhayyam,” an informal number dedicated to poetWilliam Blake, several songs with reverential themesthat speak to some higher calling. “I will lift you upand we will fly/Higher and higher/There’s no com-ing down/No sky, no ground/We are spirits at play,”from “Higher” and “A cell in the body of the rhythm/Unfolding in the kingdom of creation/The sound ofthe heart is the life in the flesh/And the living cel-ebration/Of the death of the avatar/(In the kingdomof creation,” from “Avatar,” serve as examples of theBeets’ tendency toward proselytism.

There are a few interesting curveballs, such askeyboardist/electric guitarist Scotty Perey’s offbeat“Bring It Down” and the folky tone poem “Did YouAsk The Tall Blue-Eyed Hippie To Stay.” And vocalistsisters Megan and Brianna Bassett are obviously ex-tremely talented, as are violinist David Burnham andmulti-instrumentalist Jeremy Wegner. the bandwould seem, on the surface, to be the obvious suit-able candidates to replace fellow Eugenites Calobo,

who officially called it in not long ago, as residentOregon hoedown jammers.

But for all their good intentions and irrepress-ible vim, there is something strangely unsettlingabout the Sugar Beets. There are no emotions ondisplay, but merely weird interpersonal/self-actual-ization conundrums: such as Megan Bassett’s on“Rome.” “Sunshine and sequins/Moonbeams andstars/Shoot from my being/Propelled by the beatingof my heart/You gave me flowers/When we wereyoung/Did I empower/Your compulsion to makewhat was all right wrong.” The average earthboundplebian is probably unable to grasp much of anything“shooting from his being” that he doesn’t try to set



ProductionAll Service Musical Electronics Repair(Formerly KMA Electronics)617 S.E. MorrisonPortland, OR 97214Phone/Fax: (503) 231-6552Toll Free: 1-888-231-6552Contact: Randy MorganEmail: http://www.teleport.com/~fixitmanServices: Quality electronic service for musi-cians, studios and music dealers. Factory autho-rized for most major brands.Hours: 9-6 Monday through Friday, Saturday 10-5Years Experience: 27+, over 20,000 repairsSpecialties: electronic musical equipment fromvintage to state of the art. If you can plug it inand make music with it, we probably repair it.Clients: We have performed repairs for almostevery music store in Portland and Vancouver. Wehave done work for acts such as Cheap Trick,The Cars, The Moody Blues, 98 Degrees, Monica,Everclear and many local artists.

I.H.S. ProductionGary Miles(503) 731-03838063 SE 17th AvenuePortland, OR 97202Service: Promotion, Sound Recording, Videopost work.Years Experience: 12 years.Speciality: Servicing the Christian community.Availability: Anytime.

Aloha SoundPellegrin, Terry(503) 645-5422, (503) 330-3840Web Address: www.alohasound.comEmail: [email protected]: Sound & LightingYears Experience: 13Music Specialties: Blues, jazz, bluegrass, coun-try.Availability: Always.Specialties: Live demos on location, festivals,fairs, conventions.Equipment: JBL & CrownClients: Curtis Salgado, Linda Hornbuckle, PaulDe Lay, Soul Vaccination

Prescription ElectronicsP.O. Box 42233Portland, OR 97242

Ripplinger, Joseph(503) 655-3869Services: Sound & lighting engineer, small PAand Light rental, Psychedelic Liquid Light ShowYears Experience: Pro since ‘81

Music Specialties: Blues, rock, jazz, clas-sical, Electric/AcousticAvailability: Yes!Specialties: Excellent live mix, stage man-agement and light direction. Productionefficiency.Clients: Candelight Room, Cascade Tav-ern, Terry Robb, Sundown Sound,Spectrum Sound, Razorbacks,Terraplanes, Duffy Bishop, Lily Wilde,Paul De Lay, Soul Vaccination, GeminiPub & Trails End Tavern.

Thomas, Dwayne(503) 281-0203, Msg.: (503) 784-0361Fax: (503) 231-9679Services: LightingYears Experience: 14Music Specialties: Rock, all others also.Specialties: Full-time professional light-ing design—concerts, clubs, special events, tour-ing, Intellibeam trained, substance free.Clients: Quarterflash, Nu Shooz, Jon Koonce,Dub Squad, Tales Untold, Blubinos, The KillingField, Cool’r, Cal Scott, Caryl Mack, RoselandTheatre, John Bunzow & Cowboy Angels.

VenuesPortland

Aladdin Theater3017 S.E. Milwaukie Blvd.Portland, OR 97202503-233-1994 info lineFormat: All styles (no punk)Booking: Mark Adler 503-234-9694503-234-9699 (fax)Capacity: 588Equipment: PA, lightsHeadliners: Warren Zevon, Ray Davies, ChicCorea, Keb Mo, Paula Cole

Arnada Cafe1717 BroadwayVancouver, WA 98665360-750-9596Format: rock, blues ,jazz, acousticBooking: Miguel 360-750-0811Capacity: 200Equipment: Full P.A., mic stands, monitorsHeadliners: Blyss, Mel, Rustvein

Ash Street Saloon225 S.W. Ash StreetPortland, OR 97205503-226-0430503-227-2403 (fax)Format: Acoustic, Alt. Rock, Blues, FunkBooking: IngridCapacity: 80

Equipment: PA, mics, lightsB-Complex320 SW 2nd

Portland, OR 97204503-235-4424

Bacchus3200 SE 164th AvenueVancouver, WA 98683360-882-9672Format: Fine dining and high entertainmentBooking: Tom AndersonCapacity: 200Equipment: We got it all! Sound, lights and stage.Headliners: Victoria Corrigan with DonnyOsbourne, Inkspots, Patrick Lamb band, AndyStokes.

Bar of the Gods4801 SE Hawthorne503-232-2037

Berbati’s Pan231 S.W. Ankeny StreetPortland, OR 97213503-248-4579503-417-1107 (fax)Format: Acoustic, Alternative, Funk, Jazz, Blues,RockBooking: Anthony: 721-0115Capacity: 350Equipment: PA, lightsHeadliners: National, Regional and Local acts

Billy Ray’s Dive2216 NE MLK503-287-7254

The Blackbird3728 NE SandyPortland, OR503-282-9949

Billy Reed’s2808 NE MLK Jr. BlvdPortland, OR 97212503-493-8127Format: Jazz, Soul, Reggae, Blues, LatinBooking: Fred StevensonCapacity: 250Equipment: sound systemHeadliners: Ron Steen, Norman Sylvester, Can-nonballs

Bitter EndWest BurnsidePortland, OR503-517-0179

Blue Note Lounge503 W Burnside503-222-3334

Beulahland118 NE 28th

Portland, OR503-235-2794

Brasserie Montmarte626 SW ParkPortland, OR503-224-5552

Several northwest radio stations includ-ing KISM in Bellingham Wa. KYTE in New-port and KINK here in the roseand music city, have noticedperennial Rose Festival primetime favorite, The Eric SavageBand.

Apparently “Aint ThereEnough To Go Around” ismore than good enough tocatch the attention of stationmusic programmers as well ascritical acclaim from the mostimportant critics-the publicear.

I’ve been lucky enough tohear these guys on the big stageat the RF fun center includingparts of last years set when Ihad to sprint like I stole some-thing during my break-timewhile performing on another(much smaller?) stage at thefestival site.

I must admit I’m totallyjealous of Eric, he’s got a coollook, and a great band and hisfingers hit more of the rightnotes than mine seem to.

Another highlight of thisband is drummer MichaelJohnson, he’s so into playingI’ve had trouble snapping anon-blurry photo of this cat.

From what I understand,both Eric and bassist Lofty,work for the Clackamas Gui-tar Center, so the next timeyou’re in there to check out that new gearyou’ve been hearing about, take the time to askthem about their radio play and or upcomingperformance dates.

The latest jam session buzz has been all

about the Monday 8-11 riff tester at McDuffsTavern and Grill (1635 S.E. 7th). Sponsor BobWalke of Morrison Bridge Music promises

“jam time for anyone who shows up and thatincludes a whole band”.

Pan Gypsy Band leader Barb Kitchel in-forms me that the foundation has been pouredand the power will soon be in on her property

in Trinidad that will soon be this dedicated mu-sicians winter palace of pan and festival. As Ireported earlier this year, Barb is so much inlove with the steel drum she pulled up anchorand sailed on down to Trinidad in hopes offurther developing her music skills which in-clude performer, band leader and arranger.Portland’s only steel band is regarded as oneof the best in the northwest and can usually beseen at the Caribfest held in the south parkblocks every summer.

I was asked to play for the christening of agigantic overly outfitted, four floored, hightech. wiz-bang of a yacht a few days ago andafter noticing several VIP’s like our state’s coolfirst lady Sharon Kitzhaber, I realized that notall of them were there just to hear me play onmy little steel drum, DAY-O, DAY-O, but in factwere there to launch a innternet Project called

“Walkabout” that uses Portlandas a homeport for a two-yearlive Internet Broadcast focusingon environmentally based is-sues and sights around theworld.

They can be found on theInternet at worldtour.com.

It has come to my atten-tion that I may have hurt somefeelings in recent articles, whichwould go against the prime fo-cus of Skinny White Shoulder.My main attempt is to talkabout musician related issues,circumstances and equipment,in a way that helps, not hinders,our ability to guide ourselvesthrough the maze of obstacles,ruts and personalities that of-ten stand in our way as we giveeverything we’ve got and moreto achieve our artistic and orcommercial goals. Much of mywriting hopefully reflects theopinions of the many local andnational musicians that I talk toon a daily basis.

If you take great offense toanything I write at any timewhat you need to do is write mea nasty letter and feel free to “ripme a new one” if you think I de-serve it. I know for a fact thatthe editor of this magazine

loves to let the reader stick it to his writers. Oneof the reasons I write for this magazine. Is Ifeel it stays as focused on listening as it doesspeaking.

You can reach us at [email protected].

LL

phot

o D

enny

Mel

lor

“Another highlight of this band is drummerMichael Johnson, he’s so into playing I’ve hadtrouble snapping a non-blurry photo of this cat”.


TWO LOUIES, December 2001 - OREGON MUSIC HALL OF FAME

OREGON MUSIC / DECEMBER 2001

- TWO LOUIES, December 2001Page 16 - TWO LOUIES, December 2001

2.

3.

Befor the Show.1. & 2. The Unreal Gods practice the day of the show at Kung Fu Bakery.2. Billy Flaxel.3. Rehersal at the Roseland for all the other musicans involved.The Show.4. Alf Rider-Wolf plays keys with the Gods one last time.5. The Incredible Jon Davis.6. Jim Mesi and Jon Koonce pay homage to Billy Rancher.7. Houston Bolles and Steve Hettum with Michael J. Kearsey on bass.8. Lenny Rancher fills in for his brother Billy Rancher fronting theUnreal Gods for the last time.

4

TWO LOUIES, December 2001 - TWO LOUIES, December 2001 - Page 17

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Continued on page 25The Rivieras at theAsh Street Saloon.



Buffalo Gap6835 S.W. Macadam AvenuePortland, OR 97201503-244-7111503-246-8848 (fax)Format: Soft Jazz, Folk, Rock’n RollBooking: ScottCapacity: 85Equipment: sound systemHeadliners: Craig Carothers, Jon Koonce, Reck-less Kelly

Cafe Lena620 S.E. Hawthorne Blvd.Portland, OR 97214503-238-7087Format: Open Mic, Folk AcousticBooking: LeAnnCapacity: 50Equipment: noneHeadliners: Billy Kennedy, Lew Jones, LornaMiller

Candlelight Cafe & Bar2032 S.W. 5th AvenuePortland, OR 97201503-222-3378Format: BluesBooking: Joe Shore 246-4599Capacity: 150

Equipment: noneHeadliners: Norman Sylvester, LindaHornbuckle, Jay “Bird” Koder

Cobolt Lounge32 NW 3rd avePortland, OR503-222-9066

Conan’s Pub3862 SE HawthornePortland, OR503-234-7474

The Country Inn18786 S.W. Boones Ferry RoadTualatin, OR 97062503-692-2765503-691-2675 (fax)Format: BluesBooking: SunnyCapacity: 150Equipment: noneHeadliners: Paulette & Power, Cowboy Angels,Steve Brodie

Crystal Ballroom1332 W. BurnsidePortland, OR

Dante’s Inferno1 SW 3rd AvePortland, OR503-226-6630

Dublin Pub6821 SW Beav. Hill. HWYPortland, OR503-297-2889

Fez Ballroom316 SW 11th AvePortland, OR503-226-4171

Gemini Pub456 N. State StreetLake Oswego, OR 97034503-636 9445503-636-9445 (fax)Format: Blues, JazzBooking: Randy Lilya 503-556-0405Capacity: 170Equipment: lightsHeadliners: Robbie Laws, Curtis Salgado, LeonRussell, Jim Mesi

Green Room2280 N.W. Thurman StreetPortland, OR 97210503-228-6178503-228-5068 (fax)Format: Acoustic Folk, Rock, BluegrassBooking: Declan O’ConnorCapacity: 100Equipment: PA, 8 ch. board, monitors, 1 micHeadliners: Buds of May, Sweet Juice, Little Sue,Jim Boyer, Billy Kennedy

Jasmine Tree401SW HarrisonPortland, OR503-223-7956

Jazz de Opus33 N.W. 2nd AvenuePortland, OR 97205503-222-6077503-224-6631 (fax)

Format: JazzBooking: HaleyCapacity: 50Equipment: Piano & speakersHeadliners: Mel Brown, Thara Memory, KellyBroadway.

Jimmy Mak’s300 N.W. 10thPortland, OR 97209503-295-6542503-279-4640Format: Jazz, BluesBooking: JimmyCapacity: 95-165Equipment: noneHeadliners: Tony Starlight, Pepe & BottleBlondes, Ben Fowler, Art Davis Quartet, TharaMemory

Kennedy School5736 NE 33rd

Portland, OR503-288-2477Format: Roots Rock, singer songwriterBooking: Jan HaedingerCapacity: 100-150Equipment: PA providedHeadliners: Craig Carothers, Gary Ogan

Laurelthirst2958 N.E. Glisan StreetPortland, OR 97232503-232- 1504Format: Blues, Folk, Acoustic RockBooking: Bill Leeds: 236-2455Capacity: 100Equipment: PAHeadliners: Belmont Street Octet, Jim Boyer,Little Sue, Plumb Bob



Meow Meow527 SE PinePortland, OR503-230-2111

Metropolis311 S.W. WashingtonPortland, OR 97205503-223-7515Format: 70xs & 80xs RetroBooking: RamiCapacity: 500Equipment: PA, lightsHeadliners:

Mt. Tabor Pub4811 S.E. Hawthorne Blvd.Portland, OR 97215503-238-1646Format: all stylesBooking: Peggy 503-232-8813Capacity: Main Room 339Acoustic Room 72Equipment: PA, LightsHeadliners: Buds of May, Omar Torrez,Fernando, Ezra Holbrook, Steve Smith

The New Paris TheatreSW 3rd & BurnsidePortland, Oregon 97204503-224-8313Booking: Senor Frogg (503) 236-7745Format: Punk/Gothic/Industrial/After HoursDanceHeadliners: Written in Ashes, Grindstone, Mo-bius, Monkey Fur, Soy Futura, Sumerland, GoodFor Nothing, Honey Rider, Mortal Clay, Faith &Disease, Fuckpriest Fantastic

Ohm31 N.W. 1st AvenuePortland, OR 97205503-223-9919Format: Blues, Jazz, Acoustic, Pop, Alternative.Booking: Dan ReedCapacity: 250Equipment: SA PA system, lights, soundmanHeadliners: Slowrush, Imogene, The Sensualists

The Rabbit Hole & Mad Hatter Lounge203 S.E. Grand AvenuePortland, OR503-231-2925Booking: Bill Leeds (503) 236-2455Format: original acousticEquipment: PAHeadliners: Fernando, Luther Russell, 44 Long,Kaitlyn ni Donovan

The Red Sea318 S.W. 3rd AvenuePortland, OR 97205503-241-5450503-224-6570Format: Reggae, World BeatEquipment: PA

Rock Creek Tavern10000NW Old Cornelius Pass RoadHillsboro, OR503-645-3822Booking: Jan HaedingerFormat: Americana, singer songwriter, acousticand low volume electricEquipment12 ch board, 2 monitors, 3 mics,stands and cords.

Roseland8 N.W. 6th AvenuePortland, OR 97209Website: www.doubletee.comFormat: all musical stylesBooking: Double Tee/Adam Zacks503-221-0288503-227-4418 (fax)Capacity: 1350Equipment: PA, lightsHeadliners: Local, Regional and National acts

Roseland Grill8 N.W. 6th AvenuePortland, OR 97209Format: all musical stylesBooking: Double Tee/Adam Zacks503-221-0288503-227-4418 (fax)Capacity: 400Equipment: PA, lightsHeadliners: Local, Regional and National acts

Satyricon125 N.W. 6th AvenuePortland, OR 97209503-243-2380503-243-2844 (fax)Format: Alternative Rock/Punk/VariousBooking: IngridCapacity: 250Equipment: PA, lightsHeadliners: Dead Moon, Poison Idea, Everclear,Fernando, Flapjacks

Seges818 SW 1st avePortland, OR 503-279-0250

Snake and Weasel1720 SE 12th

Portland, OR503-232-8338

The Jazz Bar at Sweetbrier Inn7125 SW Nyberg Rd.Tualatin, OR 97206503-692-5800503-691-2894 (fax)Format: JazzBooking: Denny 425-454-4817Capacity: 50Equipment: Piano, PAHeadliners: Mary Kadderly, Dana Lutz, Jean-PierGareau,Marilyn Keller, Johnny Martin

St. John’s Pub8203 North IvanhoePortland, OR 97203503-493-4311Format: Blue Grass, Soft RockBooking: John Malloy 289-7798Capacity: 300Equipment: PA, lights, two stagesHeadliners: Regional, National, Local Bluegrass& Americana

Tonic Lounge3100 NE Sandy Blvd.Portland, Oregon 97232503-239-5154Format: Rock, Alternative, GothBooking: DevonEquipment:Headliners: American Girls, Asthma Hounds,Feller, Mel


LL


Tillicum8585 S.W. Beaverton Hillsdale Hwy.Portland, OR 97225503-292-1835Format: Blues, Jazz, Rock nx RollBooking: CindyCapacity: 200Equipment: noneHeadliners: Lloyd Jones, Norman Sylvester, JimMesi Band, Midnight Blue

Tug Boat Brewery711 S.W. Ankeny StreetPortland, OR 97205503-226-2508Format: acoustic rock, jazzBooking: MeganCapacity: 50Equipment: mixer, speakers and mic.Headliners: Creative Music Guild, Rob Blakely

Trails End Saloon1320 Main StreetOregon City, OR 97045503-656-3031503-656-7872 (fax)Format: Blues Tuesday-SaturdayBooking: Randy Lilya (503) 556-0405Capacity: 150Equipment: P.A., lightingHeadliners: Little Charley, Paul DeLay, DuffyBishop

Vic’s Tavern10901 S.E. McLoughlinMilwaukie, OR503-653-9156Booking: LynnFormat: Original music-RockCapacity: 100

White Eagle836 N. RussellPortland, OR 97227503-282-6810503-282-0842 (fax)Format: Various (no punk/techno)Booking: McMenamins/Jan 503-249-3983 x 497Capacity: 110Equipment: 12 ch board, 3 monitors, 6 mics,Lighting, Some in-house sound assistanceHeadliners: Buds of May, Steve Bradley, Jerry Jo-seph & Jackmormons,Jeff Trott, John Bunzow

Salem

Boones Treasury888 Liberty N.E.Salem, OR503-399-9062Format: Roots RockBooking: Jan HaedingerCapacity: 75Equipment: PA, 4 mics, 2 monitors, 1 amp

Tommy John’s248 Liberty StreetSalem, OR 97301503-540-4069Format: Rock, Alternative, FunkBooking: Dennis AyresCapacity: 150

Equipment: 6 channel PA, no mics, lightingHeadliners: Xing, Jesus Presley, American Girls

Westside Station610 Edgewater N.W.Salem, Or 97304503-363-8012Format: Classic RockBooking: DonnyCapacity: 100Equipment: PA, lights

Corvallis

The Peacock Tavern125 S.W. 2nd AvenueCorvallis, Or541-754-8522Format: R & B, Alternative, AcousticBooking: Randy: 503-556-0405Capacity: 350, 275Equipment: PA, lightsHeadliners: Linda Hornbuckle, Rubberneck

Albany

The Venetian Theater241 W. 1st AvenueAlbany, OR 97321541-928-6733Format: all musical stylesBooking: Robert ConnellCapacity: 685Equipment: PA, lights, soundtech,Headliners: Calobo, Floater, The Daddies

Eugene

Good Times375 East 7thEugene, OR 97405541-484-7181Format: all musical stylesBooking: Dog House Entertainment, BrendonRelaford: 541-342-7743Capacity: 250Equipment: PA, lights, sound techHeadliners: Body & Soul, The Daddies.

John Henry’s136 East 11thEugene, OR 97401541-342-3358Format: alternative, hip-hop, funk, etc.Booking: Bruce 541-343-2528Capacity: 300Equipment: PA, lightsHeadliners: The Daddies, Floater

Wild Duck Music Hall169 W. 6thEugene, OR 97405541-485-3825Format: all musical stylesBooking: Dog House Entertainment, BrendonRelaford: 541-342-7743Capacity: 500Equipment: PA, lightsHeadliners: Charlie Musselwhite, Calobo, JohnHammond

The WOW Hall291 W. 8th AvenueEugene, OR 97405541-687-2747541-687-2746 (fax)Format: all styles: music, dance, theaterBooking: Allison CarterCapacity: 400Equipment: PA, lights, soudtech, stage managerHeadliners: Greg Brown, Vassar Clements,NoMeansNo.


Photography & Graphic Design

503/282-1682www.buko.net

LAST

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• 1 FERNANDO / Advance CD .............. Dreams of the Sun and Sky• 2 VARIOUS ARTISTS / Jealous Butcher CD ..................... Compact• 3 SO SADLY F...ED / Circle 5 CD ......................... So Sadly Fucked• 4 BLUE SKYS FOR BLACK HEARTS Demo CD ....... This Black Hearts Gonna Break• 5 GARMONBOZIA / Demo CD ..................................... Tremolopsi!• 6 VARIOUS / A Bouncing Space CD ............ Lunch with a Bouncing Space• 6 SPIGOT / Cameltoad CD ..................................... Bait and Switch• 7 JEFF TROTT / Demo CD .............................. Dig Up the Astoturf• 8 THE TORTURE COOKIES / Recalcitrant CD .... Progressive Disciplin• 8 MADE FOR TV MOVIE / Jealous Butcher CD .............. The Story of My Heroics• 9 ROOM 101 / Demo CD ......................................... Riddles/Hoaxes• 9 GARMONBOZIA / Diaphonic CD ...... Omnibus and the Bakers Man• 10 CRACK CITY ROCKERS / Paisley Pop CD ................. Joyce Hotel• 10 JOHN HUSS MODERATE COMBO / Zippah CD ......................... Lipcmite• 11 HERE COMES EVERYBODY / Refrigerator CD .......... Astronauts• 11 CAMERO HAIR / Outro CD ....................................... Mirage Sale• 12 QUARMIRE EXPEDITION / Demo CD ................................. Demo• 12 THE WEAKLINGS / Demo CD ...... Sick Rock and Roll Fascination• 13 DJ BLUE / Demo CD ............................................................ Trois• 13 PONTICELLO / Ponticello Music CD .......... Down Like Mercury• 13 PORTERHOUSE QUARTET / Porterhouse CD ..... Thumbs Up Little Buddy

December 5th ----------------------- So Sadly F...ed - Live!December 12th ----------------------------- Jef Trott - Live!December 19th --------------------------- Holidaze SpecialDecember 26th ------------------------------ Year in Review

• 1 FERNANDO / Advance CD ..................................... Bye Bye Baby• 2 BOSA NOVA 2600 / Jealous Butcher CD .... Arbitration Agreement• 3 BLUE SKYS FOR BLACK HEARTS Demo CD .......... Everythings Gonna be Alright• 4 SO SADLY F...ED / Circle 5 CD .................. Romantic Agreement• 5 99 CENT DREAM / A Bouncing Space CD .................. Nominate Friends



Continued on page 27The Standard at Dante’s.



LLNo. 2 at Dante’s.


But, singer/songwriter/drummer Donnie Rife fromSmooch Knob confirmed my suspicions that it is in-deed his band that I have been hearing on KNRK, themodern rock station in Portland. Donnie reports thatalmost all the jocks at NRK have played their songsWeirdo and Penetration and Marconi the afternoondrive jock is a huge supporter. Marconi had SmoochKnob play live in the studio for an afternoon in No-vember. The band brought a beautiful stripper withthem to the station to spice up the humor. SmoochKnob sang a few live songs from their current recordplus a song they composed for their host jock, Marconiand his sideman Tiny. So how is it that Smooch Knobgets on the KNRK airwaves and other groups do not?By writing and producing hit songs, which hooked aDJ, who pushed their agenda to the other DJs and tothe Program Director, Mark Hamilton.

Radio stations such as KNRK and KUFO get tobrag when an act that they supported early becomessuccessful. By having their ear to the ground and theballs to back the right local act they get respect fromthe industry and loyalty from the act.

Donnie, Shane, John and Pauly of Smooch Knobhave been steadily rolling along the indie road. Theyhave a one-off indie deal on FREQ Mastering guy RyanFoster’s label, Breakneck Records, and another full al-bum with huge hits in the can and being shopped.Smooch Knob is one of the few acts in town that cansell out a room such as Dante’s or the Cobolt Loungeand their concerts are a mob scene with barely cladwomen and a room full of people that sing along to thesongs.

Smooch Knob and Craving Theo show us thereare at least two routes to mainstream radio and no mat-ter what the musicians say in the streets, apparentlythere are folks in the biz that think these two acts havegreat songs. The rest of us should be excited that thereare still music industry people watching the Portlandindie scene and that Portland continues to be a placewhere great music happens.

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ing stuff, hoisting gear. People yelling to each otherfrom across the room seem to have the ability toscreen out every other scream except the ones com-ing from their group. It’s both chaotic and ex-tremely focused, and a very hypnotic dynamic towatch.

I was immersed in just such a dazed-gazewhen event recording engineer Steve Landsbergshowed up. Steve’s a live-sound recording expertand ProTools mastering swami. Some bloke toldhim the shindig started at 8:00PM, so he was a tad

surprised when I informed him that the Roselanddoors were opening at 5:00PM. Still, after years inthe field as the owner of On Site Audio (email himat [email protected]), I got the feeling hewas used to the “things never go as planned” fac-tor. He compressed what looked like hours of set-up work into 45 minutes and was golden by5:00PM.

By about 3:45 players were on the stage and atrio of legendary house mix-masters were at theboard tweaking the sound into what must havebeen a rare, mutually ratified, interpretation ofprocess and perfection. The Roseland Grill’s houseears, Gene Cavenaile, and long-time Rancherbuddy Mick Boyt, were joined at the console byBilly Triplett. Triplett’s been working in Los Ange-les for the past few years. He just completed pro-ducing the music for a band called Common Sense,whose previous albums were released via SurfdogRecords, currently the label for Dan Hicks, ButtholeSurfers, Brian Setzer and others, and distributedby Virgin. Look for the new Common Sense CD tobe distributed by Currier and company at BurnsideDistribution Corporation (BDC-www.bdcdistribution.com).

At 5:00ish the doors to the Roseland openedand the crowd that had gathered outside startedstreaming in. By the end of the evening I swear

every person there had re-connected with atleast one other person that they hadn’t seen

since those good ol’ days. I pegged the HPMs(hugs per minute) at about five, with TonyDeMicoli garnering roughly 65% of them.

Then the music began. And the festival-o-pre-cious-moments continued. The first act to take thestage was the Boom Chuck Sextet. Formerly knownas the Harsh Lads, a reggae band Billy mentoredand renamed “100%” in 1985, BCS served as thehouse band for the entire evening. Led by theRancher-channeling Houston Bolles, the act fea-tured Dave Diaz on keyboards, Frank Stewart onguitar, Dave “Wabba” Held on bass and PeteJorgusen on drums. These guys didn’t save any-thing. It took Houston 3 days to get his voice back.

After that was a hugely popular set that fea-tured Jon Koonce and Jim Mesi with the BoomChuck Sextet. I saw Jon rehearse Rocky Road, but

Mesi wasn’t there at the time. This time around,Koonce and Mesi were feeding off of each otherand just blew the doors off the place with their takeon this Rancher classic.

From there it was just non-stop coolness withartists such as Todd Duncan, Lewis Livermore,Turtle Vandemarr, J. Michael Kearsey, Steve Hettumand others, each joining the Boom Chuck Sextetand powering forth their interpretation of Rancherodes. Even The Incredible John Davis showed upto jam on Rude Buddy Holly and My Girl Friend’sDrawers.

Yup, tons of magic, all night long. But of allthe priceless deeds I witnessed at the Rancher gig,I think my favorite was Astrid Rancher Hanke’sacceptance of her son Billy’s award and inductioninto the Oregon Music Hall Of Fame along withthe Unreal Gods. As she eloquently yet nervouslyrecapped Billy’s musical development from shun-ning the acoustic guitar he got from mom as gift,to the watershed moment of winning a DavidBowie look-alike contest and realizing that maybethere was something to this music stuff after all, itwas as if every person in the club was holding theirbreath. And nothing but goose bumps, moist eyesand applause when she was done. Top that, Bubba.


On The Cover: On The Cover-Jon DuFresne.Billy Rancher discovered Jon DuFresne playing guitarin the Casey Nova Band at the Long Goodbye. Jonjoined Billy’s Unreal Gods and became part of Oregon’smusical history. Today DuFresne plays in a Los Ange-les blues band and returned to reunite with the UnrealG’s for the OMHOF Tribute To Billy Rancher.

LETTERSContinued from page 3

LL

Friday 14thDjs-Sub-DubSystem WideOnry Ozzborn

Selector e

Saturday 15thWar Pigs

Special GuestsBenefit for Oregon Food Bank

Bring some food get a buck off!

Friday 21stElton John Tribute

Benefit For Old Town Clinic

Saturday 22ndNight ApplesDali Lamas

Friday 28thRubber Burning

Hot RodsPenca

Cool As Cucumbers

Saturday 29thMoxy vs. Klas

Colorfield

4811 SE Hawthorn 503-238-1646

opportunity for us all to come together and sharein something so positive.

It is great honor to see that Billy's music, andthe early 80's Portland music scene, still holds adear place in the hearts and minds of those whowere there 20 years ago, as well as those who havebeen introduced through the CD's, videos and thebook, "Rocky Road". Those years playing with Billyin the Unreal Gods were the culmination of my"Rock Star" dreams, as well as an experience thatstill resonates in my life today.

The feeling I took away from the event is this:The Portland music scene of the 80's was special,not because of one band, but because of the closesense of community that was shared amongst theartists, production personal, club owners, book-ers, bartenders and waitresses, the media, and ofcourse, the audience on the dance floor who, inmy opinion, were the "Real Show" every night.Sunday's show was a flashback to any night atLaBamba's in 1982.

Billy Rancher was a true original, a great hu-man being, and possessed a genius for music andperformance that has not been duplicated since. Itis hard to explain to those who were not there, butBilly really did have the potential to be Jagger,Bowie, Marley, Lennon and Springsteen combined.Billy taught me to embrace life and not hold back,be confident in the face of adversity and to be aleader. Thank you Billy, you changed my life as Iknow you changed the lives of all those who knewyou.

Jonny DuFresneUnreal God [email protected]

NY KUDOSDear Two Louies,

P lease pass along compliments andthanks to Dennis Jones for his articleabout me in your November issue (Let-

ter From New York) I appreciate Dennis’ kindwords and his attention to detail. Thanks for print-ing his piece.

Regards,John Stowell

HOT 100Dear Editor

On the Clear Channel “list of songs”post WTC attack (Turntables, November). I never saw such a list, and

would have pretty much ignored it if I had. It wasprobably somebody’s idea at corporate to compilea list of songs that might contain sensitive lyricspost-WTC. I’m sure it was an “alert” list, and inno way a ban. They wouldn’t send a ban, and wewould have laughed at it if they did.

Thanks,Dan ClarkZ100

• Established 1979 •TWO LOUIES PUBLISHING

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Editor: Buck MungerGraphics & Photo Editor: Buko

Writers:Marc Baker • S.P. Clarke • Bart Day • Dennis Jones

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aflame with his lighter.There is only a strange, non-Christian, vaguely

Eastern dogma onto which to hold and it is likegrasping a rope of sand. Such is the case with acous-tic guitarist Marty Chilla’s “The Final Understand-ing.” “ I can’t believe I used to think/That what Ithought was happening is what is/Going on/Now Ithink it’s strange when I remember what I knew.” Or,unravel the quasi-Emersonian quagmire of the titletrack— “I am a drop of dew/And I will fall into theearth/And when I fall I will bloom into another birth.”Syllogisms such as these make the quest for higherconsciousness seem like a trip to Starbucks.

Certainly the Sugar Beets are capable musicians,whipping up a frenzy of sound from time to time.And certainly their airy lyrical pretensions are notlikely to offend, though they are far from intimate orincisive. But there is a cloying peculiarity to the doc-trine being professed. Something that just doesn’tquite add up, spiritually. And it is that specific aspectthat is distinctly most unsatisfying. LL



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•Guitar Guy seeks 50-60’svariety band. Oldies, R&R,Blues and ballads 1-2 gigs amonth and weekly practice.Guitar, Vox, Harp Pat (503)636-7449•Looking for female singer towork. Recording guitarist andsongwriter with 24-track digitalstudio. CD’s, tapes, free forhelping. Peter (503) 359-0928•Guitarist looking for drummerto jam. Rock groove Fusionstyle call: (503) 256-7682•Classic Ax: Rock cover banddoing 70’s-80’s classic rock,funk, R&B. Immediate need forbackup vocalist., keys rhythmguitar or percussion a plus.(503) 626-6702•Seasoned Phunkster vocalistlooking for her all starDelicious Band. Need playersfor gigs all instruments Call:Sonsirea 503/239-7865•Drummer wanted forestablished rock band. Showready. Influences Judas Priest,

AC/DC, Iron Maiden. We haveshows pending. Call: Dan 503/231-0363 or Larry 360/253-8953.•Kerosene Dream seeks bassplayer for recording and liveschedule. Harmony vocalability a plus. Call Dave 9AM-9PM 503/281-5741•Percussionist Availablelooking to join working band.Congas, Timbales, Bongos anda ton of hand held percussionitems. Allman Brothers to EastBay Funk, TOP, Cold Blood,War, Isley Bros, Sly, Motown,Worldbeat. Call:Keith 503/236-2722•Tribute Blues Show lookingfor Keyboard,Bass andharmonica. Call: Mike 360/696-9183 or e-mail:[email protected]•Frontman seeks Gunslingersfor Urban Assault Band. Blues,Funk, Everything. Can youhang? Drums, bass, vocals. CallJamie 503/645-5352

•Experienced female leadvocalist woth stage presencelooking to join or start workingband. Various musical styles.Lori 503/234-6202•Seminal 80’s popstar lookingfor some way out. Young cats toperform & record stellargrooves. No God. No Smack.No Girls. Call Rozz 503/997-3275•Country Punk Singer-Songwriter guitarist w/ CD &musicians seeks acoustic/electric type folk drummer.Chick, vocals, whotever CallBlake 503/775-2191•Need drummer. maybe others,2 of us. Record/tour. Cure,Trans Am, Siouxsie,Radiohead, Smiths, Jason/Nikki503/236-7941•Keyboard/piano player wantedfor established southern rooted,bluesy folk rock band. Call fordetails. Jon 503/516-1111www.junkyardhero.com

•Drummer looking for seriousproject. Have experience/progear/and love of music!Call:Jason 503/957-0357•Bass player needed, workingfunky, soulful, rock band needsa skilled & motivated playerwith pocket grooves andmelodic virtuosity. John,503.341.0460.•Classic rock band! Availablefor parties, receptions, gigging,etc. Also looking forcontributing songwriters,musicians. Stuard,503.253.1915 or Michael,503.246.4060.•Lady Luck drummer—wouldlike to play blues, R&B,country, oldies but goodies.Laurie, 503.890.6887.•Female singer ISO band.Influences, originals & rock/blues + heavy. Only seriousplease call! 503.653.1067.•Country band seeks old fatdrummer who likes to usebrushes & sing & be PAID.

2L DEC 01/32 - TwoLouiesMagazine.com · Wallpaper Music at the Long Goodbye. ... Starry Night,...

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Transcript of 2L DEC 01/32 - TwoLouiesMagazine.com · Wallpaper Music at the Long Goodbye. ... Starry Night,...