2L1200 - TwoLouiesMagazine.com

OREGON MUSIC / DECEMBER 2000

PRODUCTION/VENUE GUIDE

SPEND YOUR NEW YEAR’S EVEWITH FLOATER AND SPECIAL GUESTS

AT THE ALADDIN THEATERTickets on sale November 27th

Available at Ticketmaster and the Aladdin Boxoffice

Questions: [email protected]

PO Box 603, McMinnville, Or 97218 • www.floatermusic.com • www.elementalrecords.com

2 - TWO LOUIES, December 2000

REWIND 1993

Thirty years after is was recorded atNorthwestern for a little over fiftybucks, Portland’s Greatest Hit, “Louie

Louie” written by Richard Berry and recorded bythe Kingsmen was honored by the OregonHistorical Society and BMI with a large bronzeplaque dedicated at the site.

The Kingsmen and Paul Revere & TheRaiders both recorded “Louie Louie” at BobLindahl’s studio. The Raiders version was thefirst to find a label (Columbia) and regional suc-cess, but the Kingsmen’s version on Wand rosethrough Billboard’s charts peaking at #2 inJanuary of 1964. The same week, Cashboxreported “Louie Louie” #1.

The July 2nd 1993 plaque dedication wasthe first co-promotion uniting the OregonHistorical Society’s sound and recording archivesand the Oregon Music Coalition, the organiza-tions now behind the Oregon Music Hall ofFame.

Attending the most prestigious moment inPortland popular music history were the writerof “Louie Louie” Richard Berry, Chet Orloff ofthe Oregon Historical Society, the producer ofthe Kingsmen’s hit Ken Chase, Raiders managerRoger Hart, and Kingsmen guitarist MikeMitchell. Mitchell is the only musician on “LouieLouie” who still performs with the band.

The day after the plaque ceremony RichardBerry headlined the 1993 Waterfront BluesFestival with a backup band of distinguishedlocal musicians. Berry passed away at his homein Los Angeles in January of 1997. In April of1998 the Kingsmen were awarded ownership ofthe master tape of “Louie Louie” in a precedentsetting appeals court ruling.

3 – TWO LOUIES, December 2000

Richard Berry Band l to r: Rich Gooch-bass, Mark Spangler-guitar, Richard Berry, Jon Koonce-drums,Gregg Perry-Hammond B-3. Not pictured Gary Ogan-piano, Renato Caranto-Saxophone.

RELEASING YOUR OWN RECORD: A LEGALCHECKLISTBy Bart Day

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

the process can be a little intimidating, and it canbe easy to miss some key legal details in theprocess.

Therefore, here is a very basic checklist ofissues to be considered when releasing a record.Bear in mind, though, that your own particular

circumstances may dictate that you take certainsteps which are different from, or in addition to,the various steps mentioned below. Also bear inmind that, due to space limitations here, it hasbeen necessary to greatly oversimplify some ofthe issues discussed below.

1. Agreement Between Members of Group.If it is a group (as opposed to a solo artist) releas-ing the record, and if the group has not alreadyformalized its relationship by way of a partner-ship agreement, incorporation, or limited liabili-ty company (“LLC”), then there should at leastbe a clear and simple agreement among thegroup members about how the finances of therecording project will be handled. Also, inciden-tally, it is always a good idea to deal with the issueof the ownership of the group’s name, as early inthe group’s career as possible.

2. Investors. If there are investors involved,certain documents will need to be prepared, inorder to comply with certain Federal and Statesecurities laws. Be especially careful here.

3. Distribution and Promotion Strategy.Think ahead about how the record will be dis-tributed, advertised, and promoted, and howmuch money will be needed to effectively marketthe record. Sometimes all (or almost all) of thebudget for the project is spent on recording andmanufacturing costs, and there is little or nomoney left to effectively advertise or promote therecord. 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 amechanical license from the owner of the song(i.e., the song’s publisher), authorizing the songto be recorded, and providing for the payment ofmechanical royalties. In many cases this licensecan be obtained from The Harry Fox Agency(212/ 370-5330, or http:www.nmpa.org). Allowsix to eight weeks for this process.

For songs not licensable through Harry Fox,you must contact the publisher directly. Usually

the easiest way to do so is to obtain the publish-er’s contact info from the “song indexing”departments at ASCAP and BMI.

5. Sampling Clearances. If you are includ-ing any samples on your record, you need toobtain sample clearances from the publisher ofthe song sampled and the label which owns themaster being sampled. Do this as early as possi-ble, as there will be some instances in whicheither the publisher or label will not be willing toissue 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 is wise to have them sign a short and simple“work for hire” agreement, to preclude any pos-sible future claims by them that they are owedroyalties or that they have ownership rights inthe masters.

7. Producer Agreement. If you are using anoutside producer, there needs to be a produceragreement signed, defining (among other things)how the various costs of the recording sessionswill be handled, what advances (if any) will bepaid to the producer, and what producer royal-ties will be paid to the producer.

8. Production Credits. Make sure that theproduction credits listed in the liner notes—forsession people, producers, and others—conformto any contractual requirements. For example,the producer agreement will often be very specif-

ic about how the producer’s credits are to be list-ed. For musicians performing on the record whoare signed to a label, they will normally need tobe credited as appearing “Courtesy Of” theirlabel.

9. Liability Releases/Permission Forms. Youneed to consider the possible necessity of gettinga liability release or permission form signed inany of the following scenarios: (a) If a photo-graph and/or artistic image of an individual out-side the group is included in the artwork, (b) Ifany of the artwork which you are going to use isowned by any third party, or (c) If any logos ortrademarks owned by third parties appear in yourartwork. There can be some tricky legal issues inthis area, so be very careful here.

10. Copyright Notices for Songs. Be surethat the liner notes contain the correct copyrightnotices for all of the songs on the record, i.e.,both for your original songs and any cover songswhich you are using. Information about copy-right notices can be obtained athttp://lcweb.loc.gov/copyright/. Also, make surethat the song credits correctly state for each songthe name of the song’s publisher and the pub-lisher’s performing rights society (i.e., ASCAP,BMI, etc.).

11. Copyrighting Your Original Material.Certain copyright applications need to be filedpromptly for your recordings and for your ownoriginal songs. Use “Form SR” for copyrightingthe masters of the songs, “Form PA” for each ofyour original songs on the record, and “FormVA” for the artwork (if you own the artwork andwant to copyright it).

12. Registering Your Original Songs withBMI/ASCAP. Assuming that the record containsone or more songs which you have written, andassuming that you are affiliated (or are becomingaffiliated) with ASCAP or BMI, you will need tofile “title registration” forms for each of youroriginal songs appearing on the record. This willenable your rights society (i.e., ASCAP or BMI)to monitor the airplay of your material.

13. Trademark Notices/Registrations. Bevery sure that you have the legal right to use thegroup name and label name which you have cho-sen, and consider the advantages of filing trade-mark applications for those names. Also, make


“If there are investors involved, certain documentswill need to be prepared, in order to comply withcertain Federal and State securities laws.”

continued on page 9

5 - TWO LOUIES, December 2000

Soul Caddy – Cherry Poppin’ Daddies

Poor Steve Perry is misunderstood bythe press. Lead singer and raison ‘d’e-tre for the Eugene-based Cherry

Poppin’ Daddies, he has been pegged in somequarters as a “hep cat Swing dude,” in the usualeffort to manufacture, pigeon-hole and destroyits Pop stars. Most of these naysayers are familiar

with the Daddies only as far back as their 1997hit release Zoot Suit Riot. and the song of thesame name.

The trend riding success of that album threwthe Daddies into the national spotlight after morethan a decade of hard work at the local and region-al levels. Though Zoot Suit Riot was actually theirfourth album and, in reality, a sort of greatest hitspackage at that, many among the press pro-nounced the band a one trick pony: along withSwing revivalists such as Royal Crown Revue,Squirrel Nut Zippers and Big Bad Voodoo Daddy.

Because of Poor Steve’s penchant forespousing the Lounge-drenched philosophy ofratpacker Sammy Davis Jr., as well as that of theconsummate Cocktail alter-ego, Buddy Love(from Jerry Lewis’ The Nutty Professor), lazyjournalists often mistake the œurvre of Daddies’brass infused musings as some sort Cab Callowaytribute. Anyone familiar with Perry’s life andmusic know the guy is truly a Rocker, in the pure,existential sense of the term.

And anyone party to the incomprehensiblystrange Perry stage shows of the early ‘90s prob-ably has a difficult time recognizing Poor Steve inhis guise as dapper Swing maven. Back in the olddays one was more likely to catch him in a nearnaked state, pretending to be a penis.

The new album, Soul Caddy, gives a goodindication of the rich tradition of musical diver-sity that Perry and the Daddies have truly alwaysupheld; delivering a baker’s dozen of stylisticallywide-ranging numbers— transforming fromSwing to Ska/Reggae, from moody introspectiveacoustic music, or traditional Vegas Lounge bal-lads to Punky Rock with chameleon-like ease.

Fore those comfortable with the Daddies asa Big Band Swing unit, cuts such as the clever“Swinging With Tiger Woods,” “So Long Toots”and Bob Willsish “Uncle Ray” should satisfy thejones. But those seeking the true Daddies’ head-waters should look to the Metal/Ska of “God Is ASpider,” the Specials/Joe Jackson/English Beattinged Ska/Reggae of “Stay Don’t Just Stay,” or“You’re My mistake” and “End Of The Night.”

And to fully grasp the complex elementswhich comprise the soul of Perry and theDaddies, one should pay close attention to thelead track, “Diamond Light Boogie.” Here we

observe influences such as Bowie, T-Rex andAdam Ant. Or descry the shoe-gazing splendorof the acoustic guitar colors of “Grand Mal,”comparable to those of E and the Eels. JasonMoss’ well-placed guitar punctuations add fur-ther texture to the proceedings.

The title track combines elements of someof the classic Soul purveyors, such as OtisRedding and Sam Cooke, along with an Englishfeel comparable to that of Madness. “IrishWhiskey” is a hard rocking number which incor-porates the essential Punk/Pop components ofbands such as Bad Religion and Offspring. Truly

wondrous.“Bleeding Ceremony” begins with acoustic

guitar and tweeky synth injections from key-boardist Dustin Lanker, before exploding into anAerosmith-like strut, accentuated by Moss’chunky lead guitar.

Finally, “Saddest Thing,” in its stalwartimpeccability, could be the work of JohnnyMercer and Jimmy Van Heusen— a prototypicalLas Vegas cocktail lounge torch song— tailor-made for Billie Holiday, over forty years after herdemise. Perry’s vocal is spectacular in it’sHoliday-like phrasing, as is the brilliant sax workof alto man Ian Early.

It would be a terrible mistake to simplywrite off Steve Perry and the Cherry Poppin’Daddies as the distributors of yet another dis-carded musical fad. Though the band havealways had Swing leanings, that style was neverthe sole milieu.

Soul Caddy, the band’s first real album innearly five years, forthrightly illustrates that theDaddies are hardly flash-in-the-pan stylisticambulance chasers. Perry’s growth as a song-writer (one could quibble that his singing, often-times void of the leering swagger found in hisSwing compositions, does not always display thesame level of maturity) is obvious and distinct.

If anything, the band is pointing the waytoward another stylistic trend on the horizon:Pop/Ska/Punk, álá Madness meets Bad Religion.The style is not without its precedents. If NoDoubt can do it, why not the Daddies?

Burning Sosobra – FloaterElemental Records

It’s a shame there aren’t awards given local-ly for such categories as “Best Album” cover. Ifthere were such an award, this year it would mostcertainly go to the trio from Eugene for theiralbum Burning Sosobra. Colorful and magnifi-cently staged, the well-photographed image of aburning plaster man set against a purple-orangeseaside sunset perfectly conveys the tensions con-tained in the music within the package.

Having released albums approximatelyevery two years for the past six years, Floaterapproach their fourth recording with a matureassuredness that can only come from endlessrehearsals and performances, honing their mate-rial to razor sharpness. Their musical turf is nowclearly defined and the band stalks like a pack ofwolves the perimeters of that territory.

With the imagery of Jim Morrison, thenaked emotion of Afghan Whigs and U2, themusicianship of the Police, Rush, Stone TemplePilots and Zeppelin, Floater contrast and com-bine subtle musical textures to introspective,emotionally charged lyrics. Vocalist, bassist Rob


“Because of Poor Steve Perry’s penchant forespousing the Lounge-drenched philosophy ofratpacker Sammy Davis Jr., lazy journalists oftenmistake the œurvre of Daddies’ brass infusedmusings as some sort of Cab Calloway tribute.”

Wynia, infuses every Floater song with a sense ofpersonal drama and poetic depth in an highlyunique way.

Floater still occasionally indulge theirpredilection for odd sound bites and curioussamples, but here, moreso than ever before, it isbetter integrated into the flow of the material.Drummer Pete Cornett’s exotic percussion loopsoften set the mood for a given song. DaveAmador’s muscular guitar work echoes that ofRick McCollum of the Whigs in its orchestralaspects.

Nearly every song is a standout, cleverlyconceived and masterfully executed. Each mem-ber of the band endows the entire productionwith intricate and indelible sonic architecturesin support of somewhat complex lyricalarrangements.

Most of the fourteen songs seem to adopt acommon mythology, based upon a sort of pan-theistic animism. “Here Comes The Dog”“Watched Over By Crows,” “Queen Of TheGoats,” “King Rabbit,” “Milk Of Heaven”“Albatross,” “The Marriage Of The Black Sheep”“Colorblind” the cover of the Doors’ “WaitingFor The Sun” and “Equinox” all maintain a cer-tain thematic synergism.

“Watched Over By Crows” exhibits a grace-ful poetry over a hardhitting 12/8 time signature.“Exiled” plays with similar Bach-like rhythmicand harmonic structures. “Queen Of The Goats”maintains more of an Eastern motif, driven byCornett’s polyrhythmic pounding and Amador’sthundering guitar machinations, over whichWynia operatically ululates.

“Independence Day” offers a change ofpace. Over hopping upstroke guitars, Cornettoffers a syncopated salvo lending a Reggae feel tothe song, as if the early Police were backing U2’sBono Hewson. Similarly, “Milk Of Heaven” has aU2 flavor and shines from Amador’s thrillingguitar pyrotechnics.

The sample in the intro of “Albatross”appears to be the recitation of a poem by a youngboy. It carries a very dense specific gravity. Thesong that follows rides a smart beat, with strut-ting bass and guitar— and vocal lines that reflectmyriad influences, including even Roger Daltryfrom the Who’s Next period.

Along the same line, Floater’s cover of theDoors’ “Waiting For The Sun” is faithful to theoriginal, though mightily beefed up in the guitardepartment by Amador. “The Marriage Of TheBlack Sheep” never quite cuts loose, thoughWynia intimates rancor and rage at intervals andturns. The rest of the time, he sings as if therewere a radiator inside him that, overheating, wasset to burst. Somewhat, analogous to TrentReznor’s thermostat.

Taking a different tack, “Colorblind” is areflective piece, acoustic guitars againstrestrained drums. Wynia’s protagonist in“Alcoholic” is more to the point, though he doesnot deal with the issue head on, adopting instead

a more philosophical approach to the problem.In fact if there is to be a complaint about

Floater poetry, it’s that it is dominated by third-person tales about Goat Queens and RabbitKings, which may have some unknown esotericcontext, but in light of public taste, would seem abit ponderous for general consumption, a bit likeProg Rock bands of the early ‘70s— GentleGiant, Jethro Tull, Genesis, Yes, etc.

But for that, this is a very solid album froma well-drilled band, Their chops are not in ques-

tion, nor their artistry, their intelligence nor theirintegrity, but were their lyrics as direct as thecover to their album, we would be considering anaward for the band rather than for the graphicartist.

“Ceiling Tiles (2000)” – Kaitlyn Ni DonovanSelf-Produced

A little over a year ago, Kait released herbrilliant album Songs For Three Days whichcontained the original version of “Ceiling Tiles.”Kait and producer extraordinaire Tony Lashelected to re-release the song with a new mix(including new, or different, instrumentation)giving everyone the opportunity to appreciateKait all over again. She is an unfamiliar treasure


“Floater approached their fourth recording with amature assuredness that can only come from

endless rehearsals and performances, honing theirmaterial to razor sharpness.”

Rob Wynia of Floater Buko

continued on next page


to this city and a complete secret to the rest of theworld. This is a tragic shame.

Our review of Songs For Three Days com-pared Kait and Tony’s production toRadiohead’s work on OK Computer . Thatcomparison would seem even more appropri-ate, given Radiohead’s subsequent release, thestunning Kid—A. Utilizing the previous haunt-ing Fender Rhodes keyboard line from the orig-inal track, Lash layers further keyboardenhancements via a variety of synths, over asparse drum loop.

Kaitlyn’s angelic vocal hovers above, glanc-ing and dancing like moonlight on an eveninglake, calling to mind Kate Bush; as Eric Furlong’sbouyant bass provides the impetus. A wondrousbrief string section appears and recedes at themid-point. Synth string pads breathe luxurious-ly beneath, as other keyboards whir and purr onthe periphery.

In a kinder world, Kaitlyn Ni Donovanwould have already achieved the widespreadrecognition she so richly deserves. Her mysteri-

ous songs have a Bronte-like quality that callsforth images of foggy dells, windswept moorsand starcrossed lovers. Very few musicians havesuch keen powers of evocation. Those availedof such talents are rare enough indeed, andshould be cherished for their uncommon gifts.Kaitlyn Ni Donovan and Tony Lash are amongthose artists.

Honey Ryder – Honey RyderSelf Produced

Here’s a fine new band to the scene, namedafter one of the bombshell characters in IanFleming’s James Bond series. The band is frontedby Cristen Chambers, a dusky-voiced focal pointcomparable to No Doubt’s Gwen Stefani with alittle Courtney Love thrown in for good measure.The band, guitarists Heidi Spring and Van Chaiand the rhythm section of guests Michael Nelsonon drums and Robert Thorton from Barbarellaon bass, play edgy, high-energy Rock withpanache and aplomb.

The five songs presented on this EP brimwith vigor and vitality. Producer Joe Reinekefrom the band Alien Crime Syndicate, digs deepinto his bag of tricks, affording the band a tough,aggressive sound. Chambers’ often heavily effect-ed vocals are given a menacing characteristic,which blends well with Spring and Chai’s tough,smart guitar onslaught.

One of the guitars on “Tell The Bees” humsmaddeningly, while the other guitar merrilychunks along in a riff that calls to mind theBreeders. Chambers’ double-tracked vocal helpsto maintain an off-handed Chrissie Hynde-like

cynicism. A perky anthem. “4 Things” twists on astiletto sharp guitar riff, the effect of which couldpass as a revved-up remake of Missing Persons’‘80s nugget “Walking In LA.” Very hot!

“Thick Skin” sounds like Love, though morebrawny than Hole. “Petite Fleece” veers closer tothe work of the Divinyls, Chambers’ vocal in thechoruses breaking in a way similar to ChristineAmphlett, like Debbie Iyall of Romeo Void atother times. Finally, the band’s version of AdamAnt’s “Physical” is slow and sensual, adding acompletely new dimension to the song.

Cristen Chambers has a distinctive voice,sort of Nancy Sinatra for the new millennium.She’s backed here by a solid band. The material.while not bad, is a bit innocuous and at timesfails to fully challenge Chambers to push herselfvocally. It might be fun to hear her lose her coolonce in a while.

But apart from that, Honey Ryder are notwithout considerable charm, which shouldtranslate well to the live stage. Here is a band that

shows a lot of promise, delivering compact, con-cise retro Rock of the ‘80s persuasion, withunabashed authority.

Voice Of A Ghost – Lyle FordSelf Produced

This is Ford’ second release in thePortland market. A few of the songs found hereappeared on his first release in 1996. The prem-ise of this album is somewhat unique. It wasrecorded completely live in the studio, in onetake with no overdubs. Two sessions and thiseleven song project was finished. Lyle’s voiceand songwriting are so strong that not a lot ofembellishment is necessary to put him overupon the listener.

His talent too is a well-kept secret in thistown— which is an outright shame, because he iseasily the equal of any other singer/songwriter inthe area. To ignore him cheats not only Lyle, buta lot of potential listeners as well, which would bea double shame.

Vested of a sonorous voice and craftsman-like songwriting skills, his style would seem sofall somewhere between Folk and Country. Hissongs speak to issues generally experienced bymature adults: hardscrabble homilies, with thebarest of imagery, the scantest of adjectives. Theunderappreciated Country singer Larry Gatlincomes to mind in possible comparison, as doesBruce Cockburn.

Supporting him in this unusual “live”endeavor, are ubiquitous sideman Tim Ellis,who has played guitar, or participated in somecapacity on literally hundreds of recordings;Kevin Rankin, whose most notable recent gigwas as the drummer for Lea Kreuger in On ALlama; and bassist Jeannine Dawson, formerlyof Finn, the Vultures and the Voodoo Dolls,among several.

Of the eleven songs presented, ten areFord-penned, the other is a cover of a PaulStookey (from Peter, Paul & Mary) song, “A

“Lyle Ford’s talent too is a well-kept secret in thistown—which is an outright shame, because he iseasily the equal of any other singer/songwriter inthe area.”

continued from previous page

Tim Ellis, Lyle Ford and Jeannine Dawson Buko


sure that your liner notes contain a proper trade-mark notice for the name of your group, and (if

applicable) the name of your own label.Information about trademark notices can beobtained at http://www.uspto.gov/.

14. Obtaining A Bar Code. For informa-tion about bar codes, check out the followingwebsite: http://www.adams1.com. Or call theUniform Code Council at (609) 620-0200(Lawrenceville, New Jersey). Many CD/cassetteduplicators will, as part of their service, provideyou with a bar code for your record. Ask aboutthis when selecting a duplicator.

Hopefully, the above checklist will help toreduce, at least slightly, some of the stress andstrain of putting out your own records. The key,of course, is to think ahead as much as possible.Some of the steps mentioned above, such asobtaining sampling clearances and mechanicallicenses, can take some time, and a lack of plan-

ning can unnecessarily increase your costsand/or delay the release date.

By thinking ahead, the odds are much bet-ter that after the record is released, you will beable to spend your time and budget effectivelypromoting the record, rather than having tospend time doing repair damage.

Editor’s Note: Bart Day is a Portland-based

entertainment attorney in private practice. He isalso a partner in ALLMEDIA, Ltd., a companywith offices in Portland and Los Angeles. ALL-MEDIA specializes in administering the licens-ing of music for film, television, commercials,and websites, and represents various recordlabels, independent music publishers, andInternet companies.

Bart is also the co-author of a chapter inThe Musician’s Business and Legal Guide, abook compiled by the Beverly Hills BarAssociation and published by Prentice-HallPublishing (New York).

The reader is cautioned to seek the advice ofthe reader’s own attorney concerning the appli-cability of the general principles discussed in thiscolumn to the reader’s own activities.

“For any cover songs appearing on the record, youmust obtain a mechanical license from the ownerof the song, authorizing the song to be recorded,

and providing for the payment of mechanicalroyalties.”

continued from page 4

Soulin’.” “Clear Night In June” is a simply stat-ed ballad, wherein Ellis tosses in a few fills at theturns and Rankin lays down a gentle beat. Theaddition of hints of Debussy’s “Clair De Lune”at the very end is a nice touch, in reference to aline in the song.

“In My Bones,” just Lyle and his guitar, is atender ballad with a pretty chorus. “BrokenHearts,” featuring the whole band, would sound

great in KINK’s format. “Goodbye My Heart”highlights Lyle’s fluid voice with a little yodel inthe melody of the verse. “Hall Of Mirrors”stands out as well.

Perhaps the most successful song is “GoThere With Me.” A solid chorus and standoutperformances from the entire ensemble help toelevate it above the others. “Just A Thing” breaksfree of the emotional doldrums with a jauntymelody that hearkens to Small Faces’ “ItchycooPark.” Lyle’s cover of “A Soulin’” is faithful to theoriginal which ran along the lines of“Scarborough Fair” and “God Rest YeGentleman.”

Though they are pleasant enough, LyleFord’s melodies sometimes fail to go anywhere,they spin around, never arriving at a satisfyingchorus. On the occasions (such as with “GoThere With Me”) that Lyle puts it all together, heproves that he is more than merely competent asa songwriter. He can be very good.

• ESTABLISHED 1979 •

PUBLISHERJames E. Crummy

EDITORBuck Munger

LAYOUT & GRAPHICSPaula Hay

WEBMASTERBuko

WRITERSMarc Baker • S.P. Clarke • Bart Day • Denny Mellor • Robin Rosemond

PHOTOGRAPHERSBuko • David Ackerman • Gustavo Rapoport • Pat Snyder

PRINTED BYOregon Lithoprint

TWO LOUIES MAGAZINE2745 NE 34TH • PORTLAND, OR 97212 • (503) 284-5931 • FAX: (503) 335-3633 • www.twolouiesmagazine..com

EMAIL ADDRESSES:Editorial: [email protected] • Layout: [email protected] • Website: [email protected]

© 2000 BY TWO LOUIES MAGAZINE. May not be reproduced in any form without the expressed written consent of the publish-er. Two Louies is available by subscription. Send $35.00 for one year, postpaid to: 2745 NE 34th, Portland, OR 97212

“A little over a year ago,Kait released herbrilliant album SongsFor Three Days whichcontained the originalversion of ‘Ceiling Tiles.’Kait and producerextraordinaire TonyLash elected to releasethe song with a new mix,giving everyone theopportunity toappreciate Kait allover again.”


SEASONS

GREETINGS

from

BILLY RANCHER

and the

TWO LOUIES

STAFF

It had been a few months since I madeany of the jams in the Portland area,however I heard some great stuff

when I dropped in to the Cheers To YouTuesday night jam at 122nd and S.E. Holgatehosted by Tim Travis. The core band is TimTravis on guitar, Kelly Dunn on drums, PhilHaxton on bass and Mike Rodriguez on guitar.If you like to kick back and listen , as well asplay, like I do, this is theplace to go. The atmos-phere at this jam is verylaid back everyone gets achance to play. As is thecase with most jam ses-sions blues is the generalformat for this jam, how-ever if you want to trysomething different myguess is they would love it.

Jams can be exhilarat-ing. One time, I was calledup to jam at the old PineStreet Theater along with afirst time Elvis imperson-ator. A young lady whojust before we startedleaned over to me andwhispered into my ear toreveal that she also hadnever played in front acrowd before and she hadjust purchased her bassthat day. And a drummerthat had forgotten to takehis medication for a men-tal health condition. Nowthat was original music!

Tim played a Japanesepowder blue Strat throughtwo 18 watt Vox amps(cool, cool sound), Philplayed a Lakeland 5 stringbass through a Trace Elliotamp and Mike played ateal green American Strat

through a Matchless Chieftain amp.Tim gave me a cool CD recorded live at

the sessions. This is a great live two-mikerecording featuring 11 sweet cuts. Billed as TheCheers Allstars the players on this CD are asfollows-Michael Brummel, Kelly Dunn, PhilHaxton, Mike Rodriguez, Lee Garrett, JimHobbs, Kellie Mack, Dave Capron, JoeCasimia, June Howe, Jim Byrd, Dave Wojt,Steve Willette, Mike and Karen Johnson, RickHertd, Phil Clayton, Dick Pruiett, ScottSullivan, Cactus Davis, Kenny Stickler, RichLayton, Stu Salnave, Jim Wright, WardGriffiths, Jonny West, Ken Johnson, and MikeSeamans. This is an un released CD, but a nice

one none the less. Tim hasheld this session for twoyears. Good job Tim!

Sympathy’s go out toPortland jazz drummerJay Harris. Jay has beenone of superstar SteveAllen’s drummers sincelast year. With the deathof Mr. Allen in October,the music industry losesone of the most prolificsongwriters of our time.Jay says he was planing todo nine shows with Steve,including some in Canadaand the East Coast.Shortly before his deathAllen had recommendedHarris to MarvinHamlich for someupcoming dates, and Ibelieve Jay got the gig.

Portland great BoydSmall is doing well inAmsterdam with his newrecord label Cool Buzz.After a successful releaseof “this Time No Lies” healso just finished workingon an album forPortlander Jim Wallacetitled “Rush To Hell”. Youcan reach Boyd at:www.coolbuz.nl.


“Tim played a Japanese powder blue Strat throughtwo 18 watt Vox amps (cool, cool sound), Phil playeda Lakeland 5-string bass through a Trace Elliot amp

and Mike played a teal green American Stratthrough a Matchless Chieftain amp.”

Jay Harris Mellor


On The Cover: Kevin Rankin. If they gaveGrammies for niceness Kevin would have atrophy room full. Rankin came to the attention ofthe original music community through the rise ofLea Krueger’s band, On A Llama. Since then, he’sadded the drive to Jeff Labansky’s Beatle-esqueproject 28If and ruled from the drum throne for alist of distinguished artists including NicoleCampbell, Robert Rude and Toni Land.

Forget the Internet.Music entrepreneurs around the world have

found a new outlet for the hit tune. Phones. Cellphones in Europe and Asia are ringing to poptune hooks and National Public Radio saysPortland’s Pink Martini has one of the first wire-less hits.

“I Don’t Want To Work” or “Je Ne Veux PasTravailler” as it is sung in French, is so popular inFrance that the chorus is being offered as a ring-ing option for the mobile phone subscribers ofthe French phone company Bouygues Telecom.The Pink Martini tune gained popularitythrough a Citroen commercial shown in thatcountry.

According to NPR, “Pink Martini had onlysold about 50,000 copies of their album“Sympathique” here in the states when Citroenbegan running the spot in France last year. Andsince then, the group has sold over 300,000copies of the album and the single in France.”

Philippe Gondouin manager of WorldMusic for Naïve Records which licensed PinkMartini in France says the reason the song was ahit is, audiences were “seduced” by Pink Martinivocalist China Forbes’ “slight American accent”.China’s accent was also “reminding for us a lot ofcabaret songs and songs from the past.”

“The success of Pink Martini’s musicamong the French public and the ensuing rise insales for Citroen prompted Volkswagen to get theband to help sell the Passat in France, using theircover of the tango classic “Amado Mio”. Thatspot began running two weeks ago.”

“And the music in the message is helpingthe musicians a lot. Pink Martini played at thePlace du Casino in Monte Carlo two nights ago,and tomorrow night the band continues its 25city European tour in Perpignan, France.”

Art’s double-header.When the release dates for the two Everclear

albums first came out, one Two Louies wagwrote, “there better be a lot of Everclear on theradio by Thanksgiving or the Capitol promotionstaff will be the turkeys.”

How we didn’t edit such crappy prose is amystery to me, but now we look extra dumb(gobble, gobble) because EC is all over the radio.

Everclear’s second album in the Songs FromAn American Movie set, “Good Time For A BadAttitude” came out November 21st with the firstsingle already on BB’s airplay charts joining thealready big hits “Wonderful” and “AM Radio”from Vol.1 Learning How To Smile.

Entertainment Weekly (11/24) gave GoodTime For A Bad Attitude a B plus and opinedthat Kurt Cobain might have learned a thing ortwo about angst from Art. “Art Alexakis couldprobably teach a course in angst but wisely optsto splash and play around in the slough ofdespair, not wallow in it.”

“How have these grunge-era vets managedto survive and prosper in the age of teen pop?Good tunes and spirited playing factor into theequation, but Everclear’s real secret is their wryhumor.”

The Billboard review of the first single“When It All Goes Wrong Again” (11/25) alsogave Art major props. “Art Alexakis continues toprove himself as one of the smarter, least preten-tious dudes in rock-n-roll.”

“His words here display ample self-involve-ment while somehow managing to also be empa-thetic. The track smokes with some fat riffs and abackbeat that will not allow you to sit still.”

“When It All Goes Wrong Again” was BB’s“Airpower” pick on the Modern Rock Trackschart at #18w/bullet.(11/25) and also #23w/bul-let on the Mainstream Rock Tracks chart.

The first single from Vol 1, “Wonderful”, is asolid Top 40 hit as well as #6 on the Hot 100Singles Sales chart, after 20 weeks, and #55 on theHot 100 Airplay chart.

Incoming...Heavy hits to the Portland music industry

infrastructure. Mark Miller’s Horseshoe Music inLake Oswego closes after decades of involvementin local music history that goes back to the city’s

THE GRAND OL' SOAP OPRY

Stoney Brooks on Allegra drums Buko

Billy Gibbons visits Council Crest 2L Archives


first “combo shop” at 39th & Division. HorseshoeMusic was founded at the 39th & Division loca-tion after Denny Handa (Denny’s Music) went towork for Fender. Horseshoe owner Mark Millertook an active interest in the career of many ofhis customers. He helped Black-n-Blue duringtheir development into a Geffen recording act.Several prominent musicians will lose their “dayjobs” in the store’s closing; Guitarist GregGeorgeson (Sequel-Tommy Tutone) and drum-mer Andy Gauthier (Jon Koonce-TommyTutone) among them. Miller says he’s closing,not because of the new competition, but becausehe wants to retire. “I started when I was 22, I’mnow 46. I’ve been thinking about it for threeyears.”

The music store scene is shakin’ n quakin’...Owner Mark Taylor of Portland Music says

“the ground is shifting so swiftly underfoot... forall retail businesses. Look at Nordstrom’s stock”...

It doesn’t take much of a wave to swamp amusical instrument retailer. “The whole musicalinstrument industry, worldwide, is a smallernumber than the retail grocery figure for the cityof New York.” says Showcase Music owner JohnChassaign.

In a town the size of Portland, new storeshave impact. Within the last year, national chainGuitar Center opened new stores in Clackamasand Beaverton and is already on defensive alert.Another national chain, Music and RecordingSuperstores-Mars has a deposit on space in Mall205, with a projected store opening in 2001. Mars“superstores” are typically two and a half to threetimes larger than Guitar Center outlets. MarsMusic has 46 superstores in 27 major markets in24 states. Two stores in Seattle, none in Oregon.

The end of the Mom & Pop music store?Tell it to Fred & Toody Cole at Tombstone

Music.Oregon has always had a strong musical

instrument community including several manu-facturers of international stature. One of the bestpedal steel guitars ever built, Sierra, is still madein Portland and distributed around the world.Dave Peterson’s Allegra Drums just signed aworld wide distribution agreement with AwardMarketing in Salt Lake City and are expanding

into the space left when the Drum Shop movedto S.E. Powell. Allegra’s custom built kits havecaptured the interest and passed the scrutiny ofPortland’s major players. Mel Brown and CarltonJackson endorse Allegra drums. Erik Hargrove ofthe James Brown Band and Arthur Marbury ofthe Temptations also play Allegra kits.

Oregon also gave the music world the Sunnamplifier, which, last year was reintroduced byFender. Norm Sundholm of the Kingsmen start-ed the company in the 60’s and Sunn amps wereplayed by Jimi Hendrix, The Who, Cream andothers.

Billy Gibbons got Jimi Hendrix’s old Sunngear when he opened for Jimi with his band,Moving Sidewalks.

ZZ Topless.I got a call from Billy Gibbons that a friend

of his was in Portland and “really, really bored” soMr. Gibbons had given Billy Bob Thornton theTwo Louies phone number. “Billy Bob’s out oftown over the weekend, but he’ll call you afterthe first of the week.” says Billy. Mr. Gibbons andMr. Thornton are Texas-sized buddies, best illus-trated by Billy Bob’s wearing of a black ZZ Tophat during his post Oscar interviews.

“Take him up to Council Crest and showhim around.” suggests Mister Gibbons.

A musician himself, Mr. Thornton is intown with Bruce Willis making the movie“Bandits” on location in Oregon City.

Apparently, Mister Gibbons wasn’t the onlyguy Billy Bob complained to, because, by thatweekend, things picked up for the movie-loca-tion-bound party animals.

Bruce Willis flew in his band.The “Accelerators” arrived that Sunday from

Los Angeles where each member does doubleduty, like Alice Cooper’s keyboardist Teddy ZigZag. Or, the guy who tours with Aretha. Once ina while they come together for shows with Bruceon harp.

Think Hard Rock Café openings or thisultra private gig in Portland at the CrownBallroom, November 5th.

Tight security.Only movie cast and production people, a

handful of outsiders-and to make it a real party-150 of most beautiful strippers in Portland.

BY BUCK MUNGER

Jennifer Folker of Imogene Snyder

Stephanie Smith of Kleveland Snyder

All 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

musicians, studios and music dealers.Factory authorized for most majorbrands.

Hours: 9-6 Monday through Friday,Saturday 10-5

Years Experience: 27+, over 20,000 repairsSpecialties: electronic musical equipment

from vintage to state of the art. If youcan plug it in and make music with it,we probably repair it.

Clients: We have performed repairs foralmost every music store in Portlandand Vancouver. We have done work foracts such as Cheap Trick, The Cars,The Moody Blues, 98 Degrees, Monica,Everclear and many local artists.

Brown, Ray(503) 286-4687 Msg. (503) 285-2473Services: SoundYears Experience: 20Music Specialties: Rock, Blues, Country, AllAvailability: Any Hours.Specialties: Excellent live mix, monitors,

full production.Clients: 7 1/2 years national tours w/

Rufus, Dr. Hook, Grateful Dead, BlueOyster Cult.

Duke Sound and Light ProductionsDuke Pippitt541-747-5660525 Main StreetSpringfield, Oregon 97477Years Experience: 15Services: Concert production, sound

reinforcement, stage roofs, small P.A.and instrument rental.

Equipment: 32 input house console, 24 x 8monitor, 30 x 40 canvas stage roof(portable).

Music Specialties: Original, alternative,cover rock, but also blues and country.

Clients: Love Load, Edgar Winter Group,Norton Buffalo, Steve Morse as well asbooks bands for the Mill Camp andSwingers Night Club.

I.H.S. ProductionGary Miles(503) 731-03838063 SE 17th AvenuePortland, OR 97202Service: Promotion, Sound Recording,

Video post work.Years Experience: 12 years.Speciality: Servicing the Christian community.Availability: Anytime.

Letcher, Sean(503) 771-7488; (503) 938-9626 pagerServices: SoundYears Experience: 14+Music Specialties: Anything but CountryAvailability: Call for ScheduleSpecialties: Experienced at all levels of

record/music industry. Tech any andall instruments, good stagemanagement skills, total of 15 yearsexperience in Portland music scene.House Engineer @ Moosehead Café.

Clients: Maiden Mine, Nurse Diesel,Norman Sylvester, Hudson RocketBand.

Logic General, Inc.6713 SW Bonita Rd #210Tigard, OR 97224Phone: 503-598-7747Fax: 503-603-0141Contacts:Tom Dickey 503-598-7747 x301email: [email protected] Gusman 503-598-7747 x303email: [email protected]: CD Duplication Services,

Including on-site CD manufacturing;CDR disk and tape duplication;graphic design, retail ready packagingservices, warehousing & distributionservices.

Mincks, Dennis(206) 576-9007Services: Sound.Years Experience: 15.Music Specialties: All.Availability: Any hours.Specialties: Sound mixing, front of house

monitors, production services.

Pro Sound and VideoSteve Hills1020 Greenacres RoadEugene, OR(541)4844-4252Years Experience: 7 yearsSpecialties: live sound recordings, do-it-

yourself demo tapes.Clients: Love, Death & Agriculture, Don

Latarski, Eisneblaak.Pellegrin, Terry(503) 645-5422, (503) 330-3840

Web Address: www.alohasound.comEmail: [email protected]: Sound & LightingYears Experience: 13Music Specialties: Blues, jazz, bluegrass,

country.Availability: Always.Specialties: Live demos on location,

festivals, fairs, conventions.Equipment: JBL & CrownClients: Curtis Salgado, Linda Hornbuckle,

Paul De Lay, Soul Vaccination

Prescription ElectronicsP.O. Box 42233Portland, OR 97242

Ripplinger, Joseph(503) 655-3869Services: Sound & lighting engineer, small

PA and Light rental, Psychedelic LiquidLight Show

Years Experience: Pro since ‘81Music Specialties: Blues, rock, jazz,

classical, Electric/AcousticAvailability: Yes!Specialties: Excellent live mix, stage

management and light direction.Production efficiency.

Clients: Candelight Room, Cascade Tavern,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 lighting

design—concerts, clubs, special events,touring, Intellibeam trained, substancefree.

Clients: Quarterflash, Nu Shooz, JonKoonce, Dub Squad, Tales Untold,Blubinos, The Killing Field, Cool’r, CalScott, Caryl Mack, Roseland Theatre,John Bunzow & Cowboy Angels.


PRODUCTION

Portland

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,

Chic Corea, Keb Mo, Paula Cole

Arnada Cafe1717 Broadway

Vancouver, WA 98665360-750-9596Format: rock, blues ,jazz, acousticBooking: J.T.Capacity: 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: DonnyCapacity: 80

Equipment: PA, mics, lightsHeadliners:

Berbati’s Pan231 S.W. Ankeny StreetPortland, OR 97213503-248-4579503-417-1107 (fax)Format: Acoustic, Alternative, Funk, Jazz,

Blues, RockBooking: Tres Shannon: 721-0115Capacity: 350Equipment: PA, lightsHeadliners: National, Regional and Local

acts

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,

Reckless Kelly

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

Lorna Miller

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

Hornbuckle, Jay “Bird” Koder

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

EJ’s2140 N.E. Sandy Blvd.Portland, OR 97213503-234-3535503-232-7719 (fax)Format: punk/alternative rockBooking: Joel (503) 817-2060Capacity: 307Equipment: PA, lights, sound engineerHeadliners: National, Regional and Local

acts

V E N U E

continued on pagre 20

Main Room, DecemberWEDNESDAY, DEC 13

Clubfoot Sandwich

THURSDAY, DEC 14TBA

FRIDAY, DEC 15Carmina Piranha

MissBrandon Carmody

SATURDAY, DEC 16Lisa Miller & the Trailer Park

HoniesCountrypolitans

Dryer

WEDNESDAY, DEC 20The PencaBonobos

Gringo Stars

THURSDAY, DEC 21Noumena

4th Plain GiantsRain Like I Know

FRIDAY, DEC 22Winter ball with Lava

DemureRotating LesliesRed Dance Clan

SATURDAY, DEC 23Jellyhead

WEDNESDAY, DEC 27Whirleybird

THURSDAY, DEC 28The Buds of Maywith many friends

FRIDAY, DEC 29Nothing but Family

with Top ShelfCandidt

Cappucino w/Semaj

SATURDAY, DEC 30Rubberneck

SUNDAY, DEC 31Higher Ground

Dan Murray Band

Acoustic Room, DecemberFRIDAY, DEC 8

Joy WilsonSaratoga Park

WEDNESDAY, DEC 13Nicholas DylanShawn Miller

Dave Callahan

THURSDAY, DEC 14Allison Violet

Maria Webster

FRIDAY, DEC 15Brandon Schaeffer

SATURDAY, DEC 16Delgata

Jonah Howard & theAmerican Dream

Spigot

THURSSDAY, DEC 21Mandocellin

FRIDAY, DEC 22Yasha

Michael Jodel

SATURDAY, DEC 23Easy

Brian HillmanJason Lambert

WEDNESDAY, DEC 27John Strider

Alava

THURSDAY, DEC 28-Redwood Highway

FRIDAY, DEC 29Molly Bloom

SUNDAY, DEC 31Slot Rocket

4811 SE Hawthorne 238-1646

WEDNESDAY 10:30-MIDNIGHT92.7 FM Columbia Gorge

100.7 FM Corvallis/Albany

LAST

MON

TH

THIS

MON

TH

art ist • label • t i t le

Wednesday, Nov 22 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jesus Presley LiveWednesday, Dec 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Pirate Jenny Live

Wednesday, Dec 13 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Wow and Flutter LiveWednesday, Dec 20 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Holiday SpecialWednesday, Dec 27 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Year in Review

top t racks

l ive offer ings at the church

3 1 BRAILLE STARS Wicked Witch CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Golden Stream5 2 RICK BAIN AND THE GENIUS POSITION Official CD . . . . . . . . . . . . . .I Want To Die• 3 JOE DAVIS Demo CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Bed of Pain• 4 KING BLACK ACID Cavity Search CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .School Blood• 5 THE HELO SEQUENCE Cavity Search CD . . . . . . . . . . . . . . . . . . . . . . . . . .Transistor Radio

3 1 BRAILLE STARS Wicked Witch CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Golden Stream7 2 RICK BAIN & THE GENIUS POSITION Official CD . . . . . . . . .Crooked Autumn Sun6 2 JOE DAVIS Demo CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Hope Chest4 3 KING BLACK ACID Cavity Search CD . . . . . . . . . . . . . . . . . . . . . . . . . .Loves a Long Song5 3 THE HELIO SEQUENCE Cavity Search CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Com Plex2 4 MOTHBALL Fat Lip Records . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Mothball7 4 KAITLYN NI DONOVAN Demo CD . . . . . . . . . . . . . . . . . . . . .Ceiling Tiles 2000 (Remix)8 5 WOW AND FLUTTER Demo CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Confessionals

12 5 MEL BROWN Karmen Policy CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Mister Greeve10 6 THE PINKOS Empty 45 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .“To My Valentine 7" EP”9 6 BINGO Demo CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Final Master• 7 OH SUSANNA Stella-CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Oh Susanna9 7 JEFF LONDON Post Pablo Records 2000 CD . . . . . . . . . . . . . . . . . . . . .Home: Volume 1• 8 LYNN CANOVER Tailfeathers CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Strange Bird• 12 THE COUNTRYPOLITANS Demo CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .“Killing Shoes”

13 9 BUNCO KELLY Demo CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Love Is Strong 2000• 9 4 HR. RAMONA Demo CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .The Ride EP

12 10 CALEB KLAUDER Padré CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sings Out13 10 JERRY JOSEPH Ulftone CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Everything was Beautiful11 11 THE FOLD J-Bird CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .The Fold• 11 XIARIOUS Kwali-T CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .X Ray Visions• 12 IKNOWKUNGFU Drunken Fist CD . . . . . . . . . . . . . . . . . . . . . . . . . .Songs in the Rey of Fu

11 13 VOYAGER ONE Loveless CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .From the New Nation


Please send submissions to...Church of NW Music • PO Box 9121 • Portland, Oregon 97207


The Drum Shop of Portland is moving, Monday, August 21st

to 3366 S.E. Powell Blvd• New, Bigger Showroom with Expanded Inventory• Large Hand Drum Department (Congas, Bongos, Djembes)• Enclosed Cymbal Room• New Kids Dept & Kids Classes• Group Classes for Conga, Djembe, Drum Circle & More

Main Store3366 S.E. Powell

Portland, OR 97202(503) 771-7789

Westside13530 NW Cornell RdPortland, OR 97229

(503) 626-3786

E-mail: [email protected]

The Drum Shop of Portland has moved to 3366 SE Powell Blvd• New, Bigger Showrom with Expanded Inventory• Lare hand Drum Department (Congas, Bongos, Djembes)• Enclosed Cymbal Room• New Kids Dept & Kids Classes• Group Classes for Conga, Djembe, Drum Circle & More

Main Store3366 SE Powell

Portland, OR 97202(503) 771-7789

Westside13530 NW Cornell RdPortland, OR 97229

(503) 626-3786

email: [email protected] • www.drumshopofportland.com

Happy Holidays Two Louies readers.By the time you read this we shouldhave a President elect, but there are

no guarantees are there? I began my Novembercolumn with a foreboding about our choices inthe election, but it was astonished when it deteri-orated to a stalemate. Election Day was weirdand I felt hostility from just about everyone Iencountered. People are frustrated and I thinkmany Americans are sick to death of know-it-allpundits who feel they are more informed, bettereducated and all knowing when it comes to pol-itics. I think the thing to remember is that it’s justyou and the ballot, but from there it’s a crap-shoot. The premature results and the revealingweaknesses of an antiquated system, was a clearreminder that the country is not only split, buteven people who voted for the same candidateare at each others throats over what they believeis the truth and what they feel is right. It’s like thecountry started ringing a bell and when it kepton ringing, we realized not only was it annoying,but we couldn’t stop it.

The Seattle Weekly is getting a new editor.We all remember the lovely and talented AudreyVanBuskirk, who was the Arts andEntertainment editor for the Willamette weekuntil she moved to Santa Fe to man the helm ofWW’s sister weekly rag, The Santa Fe Reporter.She told me getting the new position happenedrather suddenly and she’s thrilled about comingback to the Northwest. She moves into her newdigs right after Thanksgiving and assumes hernew role as editor of the Seattle Weekly soonafter. An added blessing to her move to Seattle isshe will be working with her old comrade,Richard Martin (ex-music critic for WW). Lookout King County!

The new Portland paper called, ThePortland Tribune (this week) is the talk of thetown. Those in the know are making squawksabout deep pockets, many columnists, and someOregonian writers who’ve jumped ship. Plus: JimRedden! When I spoke to Roger Anthony, who’sdoing the hiring, he seemed like a no-nonsenseconversationalist. I asked him what the paperneeded in terms of contributors, he replied “Weneed some humor!” Don’t we all?

I recently spent a weekend in Yakima Valleywine country in Washington State. I tasted avariety of fine wines from around twelve winer-ies, but what they do best is Merlot. We traveledwith friends and stayed at a Bed & Breakfastwhere we lived off the fat of the land. We atemany tortillas, chilies, apples, and onions, redand green bell peppers and drank good wineswith the spectacular dishes we prepared in thekitchen of the B&B. Yakima Valley is filled withall sorts of characters and visiting the wineriesand meeting the wine makers and their familieswas endlessly entertaining. Try the Merlot from

Hyatt or Portteus, you will not be disappointed.On the way to wine country we visited the

Maryhill Museum which was very enjoyable. Theview of the Gorge is breathtaking and the free

sculpture garden is a nice stroll around the well-manicured grounds. The Queen Marie and TheRomanovs exhibit was divine. Her clothing andfurniture that she had designed and made for her

were ornate and intricate works of art worthy ofany great museum. The Maryhill also has workby Rodin with a step by step display of how hecast his sculpture. The drive out there alone iswell worth it and you can always visit the replicaof Stonehenge down the road from the museum.Maryhill is open seven days a week. For moreinformation call: 509 773-3733.

I went to LeHappy for the opening night

bash. Owner John Brodie designed this wonderfullittle restaurant that serves sweet and savory crepesand salad. The opening night was packed withPortland’s hipsters and a smattering of old scen-esters. Everyone seemed like they were smokingcigarettes, talking fast and laughing loud. Thebuckwheat crepes were delectable and the choicesfor wine and beer were respectable. HavingBridget O’Conner behind the bar was a welcomingsight and she looked smashing in her brownleather shirt with buckskin ties. John Brodie hasdone a great job on the interior design of LeHappy. His choice of color and detail are close toperfection and Cecilia Hallinan and LaurenMantecon’s paintings hanging on the walls compli-mented the sweet restaurant. Brodie had his signa-ture plastic flower wall looking like it was in fullbloom. I spotted Marty Hughley at the bar withKaren Donovan and Eva Lake told me her art stu-dio is close by so Le Happy is her neighborhoodbar. Chris Monlux from Monqui Presents waslooking incredibly handsome as he selectively gaveout passes to the premiere of his movie “Eban AndCharley”. LeHappy is located @ 1011 Northwest 16Avenue (between Lovejoy and Marshall Streets).For more information call: 503 226-1258.

For all you theater lovers, a good show tocheck out is Artist Repertory Theatres produc-tion of “Ain’t Misbehavin”. It’s an enjoyable nightof theater, with a great band, excellent singingand a powerful cast. I recommend taking thefamily to this historical review of some of the

best songs of Fats Waller’s day. It’s foot stomping,toe tapping, entertainment with a capital E. Iattended opening night and the audience sangalong to Fat & Greasy and we clapped our waythrough the last medley. The show runs throughDecember 15, so check it out if you want to enjoya night of live theater. For ticket information call:503 241-1ART.

Write to me: [email protected]


“Chris Monlux from Monqui Presents was lookingincredibly handsome as he selectively gave out pass-

es to the premiere of his movie Eban and Charley.”

Bridget O’Conner Rosemond

Dressed to impress.The Movie Star thing.Bruce set up two microphones on stage for

people who wanted to sit-in but Billy Bob andthe other musician guests, including Dan Reedand Patrick Lamb, passed. Willis delivered somewicked harp and his super-sidemen burned infront of a vintage Fender backline. TheAccelerators squeezed out a tight 60 minute setof mainly blues covers and after the encore,Willis played disc jockey.

Did I mention the 150 strippers?Next week: Billy Bob visits Council Crest.Right.

The Dandy’s are handy...The Dandy Warhols breeze through

Portland visiting the Pine Street TheaterWednesday, December 6th. Portland’s otherband at the mercy of Capitol promotion flackscontinues to be news in the music business, evenwithout chart support of their current Capitolrelease, “Thirteen Tales From Urban Bohemia”.Rolling Stone’s Random Notes offered a littletour support with a nice big color picture andcoverage of Dandy backstage antics in the DrewBarrymore cover issue.

Arist Direct .com conducted a DandyWarhols “fan conference” online November 8thand helped answer burning questions like,“What’s the deal with Courtney becoming‘Taylor-Taylor’? How high is Brent going to letthat afro grow? And how come sometimes Ziatakes it all off and sometimes, she doesn’t?”

Before Portland, the Dandy Warhols willvisit Detroit, December 1st, Vancouver, BritishColumbia on the 4th and The Showbox in SeattleDecember 5th.

Trade secrets...Warren Pash is moving toNashville. The writer of Hall & Oates hit“Private Eyes” discovered Portland opening forPete Droge in June of ‘97. Warren said “I wasstaying at the Mark Spencer Hotel. I walkeddown to Jake’s for Happy Hour, the food wasfabulous, I walked across the street to Powell’s

Books and found a book in 5 minutes that I hadbeen looking for, for five years and said this isit.” While living in cloudytown Warren collabo-rated with Luther Russell on an album forCravedog. Before coming to Portland Warrenplayed with homie Duane Jarvis in Los Angelesand is expecting to hook up again inNashville...Mel Brown will appear at MusicMillennium East December 2nd at 1:00PM tosign copies of his latest CD “Live At Jimmy

Mak’s” on Karmenpolicy Records...SteveBradley and Turtle Vandemarr have a newalbum out, “It Came From The Patio”. Bradleyand Turtle have worked together as a duo for 12years...The Steve Bradley Band plays theTillicum Club December 15th & 16th...CurtisSalgado’s new album has FabulousThunderbirds guitar legend Jimmie Vaughanall over it, Salgado plays Berbati’s PanNovember 28th...Caleb Klauder’s first solorelease “Caleb Klauder Sings Out” was pro-duced by Luther Russell. Klauder is also a song-writer and vocalist for the band Calobo. Calebplays the White Eagle December 2nd and theCobalt Lounge December 29th...Gary Oganplays drums for the Jack McMahon Band at theBuffalo Gap December 29th. Gary does a soloshot at the White Eagle December 12th...Kerosene Dream at Berbati’s Pan, Friday,December 29th... Congratulations to the musi-cians of the Oregon Symphony. A new three-year contract between the Oregon SymphonyAssociation and Local#99 of the AmericanFederation of Musicians was negotiated usingthe Interest-Based Bargaining process. Local#99 President Denise Westby said, “The IBBprocess certainly assisted all parties to step intoeach others’ shoes and try looking at the worldwith a new point of view. That view made itrelatively easy for us all to find commonground and the best possible solution to eachothers’ needs.”...the formerly feuding foundingmembers of the Mayor’s Ball must’ve used thatIBB process, otherwise how did they agree tohold a 15 Year Anniversary Mayor’s BallReunion at the Roseland Grill, January 21st,20001. The founders will reunite for a privatedinner and Oregon Music Hall of Fame concertopen to the public. Michael Kearsey remembersJohn Entwistle of the Who showing up at thefirst business meeting at Michael’s home.Backstage passes and laminates from the eightMayor’s Balls will be honored January 21st.“This event is an attempt to recapture thatoriginal spirit and reassemble that volunteercorps.” says one organizer.

&Club Cabos

SE 18th & McLOUGHLIN232.3799

NE 122nd & Glisan255.5039

WE LOVEBACHELOR PARTIES!

Featuring the most beautifuldancers in the Northwest!

Come on in for CHAR BROILED STEAKSBREAKFAST, LUNCH, or DINNER

Open Daily 7am–2amwe have Oregon Lottery Games too!!


Lea Krueger Snyder


Carmina Piranha Snyder

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,

Leon Russell, Jim Mesi

Green Onion15 S.W. 2ndPortland, OR 97205503-227-2372Format: Middle Eastern, East Indian,

Reggae, World MusicBooking: SusanCapacity: 180Equipment: noneHeadliners:

Green Room2280 N.W. Thurman StreetPortland, OR 97210503-228-6178503-228-5068 (fax)Format: Acoustic Folk, Rock, BluegrassBooking: DeclanCapacity: 100Equipment: PA, board, monitors, 1 micHeadliners: Buds of May, Sweet Juice, Little

Sue, Jim Boyer, Billy Kennedy

Jazz de Opus33 N.W. 2nd AvenuePortland, OR 97205503-222-6077503-224-6631 (fax)Format: JazzBooking: HaleyCapacity: 50Equipment: Piano & speakersHeadliners: Mel Brown, Thara Memory,

Kelly Broadway.

Jimmy Mak’s300 N.W. 10thPortland, OR 97209503-295-6542503-279-4640Format: Jazz, BluesBooking: JimmyCapacity: 95-165Equipment: noneHeadliners: Tony Starlight, Pepe & Bottle

Blondes, Ben Fowler, Art DavisQuartet, Thara Memory

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

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

Hours DanceHeadliners: Written in Ashes, Grindstone,

Mobius, Monkey Fur, Soy Futura,Sumerland, Good For Nothing, HoneyRider, 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

Roseland8 N.W. 6th AvenuePortland, OR 97209Website: www.doubletee.comFormat: all musical stylesBooking: Double Tee/Adam Zacks503-221-0288503-227-4418 (fax)

V E N U E


continued from page 14

MTS

Musicians Technical Services a.k.a.

Uncle Joe’shas moved to Morrison Bridge Music

522 SE BelmontPortland, OR 97214

503-234-9500

NW PORTLAND23rd & NW Johnson

503-248-0163

EAST PORTLAND32rd & E Burnside

503-231-8926

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

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-Pier Gareau,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

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

Jim Mesi 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,

Duffy Bishop

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: P.A., mics, Lighting, Some in-

house sound assistanceHeadliners: Buds of May, Steve Bradley,

Jerry Joseph & Jackmormons,Jeff Trott, John Bunzow

Salem

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

Red Carpet Recording503.848.5824

N e w !N e w !N e w !N e w !N e w !

New! Aloha Location w/many Advantages! • MORE racks of tube gear

• Silver soldered Patch Bays • Tube Driven JBL/Alnico Mains + Near

Feilds • Vintage Amps • Hammond Leslie &’ Grand • Massive Analog •

Computer Editing • CD Burning • RCT 4x8 Tube Plate Reverb

V E N U E


www.twolouiesmagazine.com

• Exclusive Advance Copy • Back Issues •

• Free Band Links • On Line Guides •

WE HAVE MOVED ACROSS THE STREET.Come and see us in our new location.

18th & Hawthorne on the south side of the street.

VACATION HOURS503/238-4487www.guitarcrazy.com

P r o A u d i o R e p a i rs i n c e 1 9 7 8

F a c t o r y A u t h o r i z e d S e r v i c e :Alesis Denon Fender Fostex Korg Marshall

Peavey Roland Sony Tascam Yamahaand most other brands

1818 SE Division Street • Portland • OR 97202 • 503-238-1955 • email:[email protected]

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,

Brendon Relaford: 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,

Brendon Relaford: 541-342-7743Capacity: 500Equipment: PA, lightsHeadliners: Charlie Musselwhite, Calobo,

John Hammond

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.

V E N U E


MAYOR’S BALL REUNION

The Roseland Grill

Sunday, January 21, 2001

Celebrating

15 years since the founding.

Opening remarks Billy Hults

Michael Burgess

VIP Dinner

Moderator Jim Miller

Tony DeMicoli

Roseland Grill Poster Installation

sponsored by Double Tee

Artist Sue Schenck

Oregon Music Hall of Fame

Technical Inductions

Ken Chase/ producer of “Louie Louie”

Bob Sterne/ live concert sound

Bryan Bell/ advancement of computer music

Conrad Sundholm/ musical instruments

9PM-close

Mayor’s Ball Reunion Concert

MB backstage passes & laminates honored

Talent: Michael Kearsey, Co-ordinator

QUARTERLYLISTINGS FOCUS

Recording Studio GuideJanuary • April • July • October

Oregon Label GuideFebruary • May • August • November

Production/Venue GuideMarch • June • September • December


Percussionist. Congas, timbales etc.Looking to jam join/start band intoSantana, War, Blues, R&B, World. Call:Keith 236-2722

Mandolinist/Bassist seeks uprightbass drums & horns for Jazz, Funk,Jamming and rehearsal. Jason 232-5277

Metal singer who can Scream/Singneeded bad. Experience pref. but notnecessary. Sevendust, Nin,Machinehead, Meshugga. Call Andy360/513-3973 Must have hair!

P.A.W.N. seeking soundman and or key-boardist. Back vox or lighting exp aplus. Gigging w/CD. 257-2864

\Death/Punk band needs insanedrummer. Call Sam or Tim at 775-8448

Free form clarinet player open to BeatPoetry sessions. James Marble 255-6355.

Heavy R&R band w/CD, Gigs, NxNWseeking drummer with experience andcommitment. Call today Jim (503) 977-0976

Al Perez Band seeking guitar and key-board player. Pro attitude and gearrequired. Wayne (503) 286-6389.

Christian rock band seeking guitarist &keyboardist with good vocal skills.Please call Larry 360/600-4025.

Bass player seeks other musicians toplay jam-oriented rock, reggae, acidjazz, etc. 10 years experience. Scott794-7272

Bass player looking for musicians tomake a frantic, aggressive, thrash typeof music. Call Jan at 493-2989

Heavy Rock Band Seeks Singer WithAttitude! 774-5249

Experienced singer/ songwriter/ gui-tarist seeks bassist, drummer to formfolk/ blues/ reggae trio with room togrow, record & tour (503) 774-4984

Versatile guitarist playing 25 yearslooking to join Jazz hobby band-work-shop. I play a wide variety of styles also.Neil 292-7592

Working cover band seeking keyboardplayer for 1 to 2 gigs a month. Beatlesto Metallica. Class act - no drugs. Allwith jobs, transportation & pro gear. Youneed solid keys and a car. Vocals a plus.Steve 293-6301, Mike 356-6565

Keyboard player wanted. Classic rockband. Vocals a plus. You need to be inyour 40’s or so to fit in with this bunch,and know your instrument. Bill503/643-5206

Azedelirium. Original heavy rock with afunk edge seeks a leadman/vocalist.Must have own gear, be motivated anddrug free. Steve 649-6966.

Bass player looking. Hear and now.Country, Blues, Rock, Oldies andStandards. Gene 245-5116

Looking for female singer to work onstudio recording, tape-CD.Guitarist/songwriter with 24 dig studio.Peter 359-0928

Guitarist and bass player looking fordrummer, keyboardist and sax player.We have jam space, come join us in arising white funnel of rhythms andgroove. 282-6414

Seeking drummer and bassist. Creativewith an understanding of rhythm andgood at discourse. We’re two vocal-ist/guitarists with original material.Michael 503/963-8867

New Christian band looking for sea-soned guitarist with vocals and somekeyboard abilities. Larry 360/263-6634 or Josh 360/694-7530

Bass player wanted for Rock styleband. We need an experienced andcreative bass player who wants to playlive and record. Josh 356-8049

Real Musician Seeks Same Sort OfMulti Inst Singer. No amateurs, workingstiffs, cops or puritans. You gotta playbecause I do and sing because I do.Gene 245-5116

Live Sound Engineering & Production.Reasonable rates. Bill Cushman 649-7741

82nd USA Band trumpeter seeks band.Age 48. Al Olsen 722-2162

Looking for Country lead player, key-board or rhythm player with vocals. JoeArcher 6507646

Slipsand searching for versatile musi-cian with multi-instrumental talent foralready moving and active rock(Jazzish, Funkish, etc) band. Joe (503)228-7088

Vocalist looking for all original hardrock band. Influences Godsmack,Powerman 5000, Filter, AC/DC etc.Call Rick (360) 883-3780

Guitarist looking for a band or people tostart a band. Influences Van Halen,Queensryche, various others. I have myown gear. Clayton (503) 356-0400

Wanted: Experienced Bass player. Theband plays Country, Classic Rock andmore. We have gigs. (503) 266-1818.

Looking to form or join 3 or 4 pieceacoustic band. I play bass & acousticguitar. I also write and sing lead andharmony vox. David (503) 648-3474

Keyboardist, we need you ASAP. Call:(503 698-5580)

Fiction, Portland’s premier progressiveJazz/Rock Fusion band is looking forkeyboards, guitar, violin & cello to aug-ment our core group. Complex andchallenging original instrumental musicwith odd time signatures and aggres-sive arrangements. Return To Forever,King Crimson, Weather Report, Yes,Mahavishnu. Brian 771-1907

Original project in need of a big, bad,bottom end. Innovative drummer andbass person needed. Think of LittleFeat conceiving with The Dead onlyZappa could just be the real papa. CallStu at 284-9672

Sound & lights for hire. DJ sound &look like you should. Live recordingavailable- CD or tape. Call Kevin at503/762-4883.

Good bass player likes funk. Call Rob at657-9302.

Very established NW act seeks sax &trumpet. Must be able to write & readcharts. Call John at 288-1218.

Guitarist with studio looking for goodsinger to write and record with. Talentmore important than experience. CallJack at 503/753-5151.

We’re a bassist, guitarist and drummer,mature, experienced, responsible look-ing for piano and Hammond-style key-boardist/ organist for hobby band.Practice once a week gig once amonth. Very big on tight arrangementsand enjoying the musical experience,very low on ego and ear-splitting amps.Kevin 238-3884

Bands! Get a live DAT recording of yourshow on CD for only $50. You play—Ido the rest. Jeff, 503/239-0332.

Musician (blues, country, R&B, swing)seeks others for local gigs. I play guitar,bass, lap steel & sing. Greg, 771-4285.

Local band seeks musicians of allkinds! MCs, DJs, multi instrumentalists,etc. Into hip hop/jazz/groove gigs, etc.Hi mom! 503/286-7744.

Bassist for aggressive band. Must haveown gear, good sense of humor, anddrive. We are not looking for a flake ora guitarist. be ready to play songs like:Master of Puppets, L.A. Woman, orDirty Deeds Done Dirt Cheap. Genderunimportant Tom, 503-685-9783.Leave a message! (Please no swearingon the answering machine!)

Wanted: Lead vocalist, lead guitarist.Established working group. Pop, R&B,funk, dance music. quality originalmusic also. 503-321-5185.www.xprt.net/~11.

Capture the moment! Musicians, poets,speakers. Sound Is A Vision produc-tions does on-sight live recordings.Recording + 1 CD, $50. Fast turn over.503-790-0726.

FREE MUSICIANS CLASSIFIEDSSTOP IN ANY PORTLAND MUSIC

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