2L feb 2002 - TwoLouiesMagazine.comon an amplified shopping cart with a guitar pickup and an...

REPLICATION/LABEL GUIDE

phot

o Bu

ko

OREGON MUSIC / FEBRUARY 2002

TWO LOUIES, February 2002 - Page 3

LETTERSLL

In 1988 drummer Daniel Riddle came toPortland with a San Francisco punk trio“for the cheap rent” discovering Satyricon

and performance art project Con-Con, featuringpoets Stephen Spyrit and Kristen Kohl readingwhile accompanied by “Alpo” playing percussionon an amplified shopping cart with a guitar pickupand an assortment of effects pedals.

Inspired, Riddle built a junk metal drum set

to add to his standard kit and joined Con-Con.They got a gig and renamed the new band HittingBirth. “We didn’t want anything with ‘death’ in the

name.” Says Riddle. David Parks joined on drumsand became a focus of the act. “Crucibob” playedbass and Keith Bornzin joined on percussion whileRev. Rob Roy offered samples and played Wah-wahpedal shopping cart.

The Hitting Birth Family Circus created sen-sory overload. “It was theater and it was rock, butit was also a very effective ritual, not dissimilar to avoodoo ceremony, or an ancient Bacchanalia rite”Hitting Birth shows were orgies of production withcostumes, elaborate sets, dancers, smoke, lights andolfactory assaults of incense, flowers, candles,smudge sticks and even grinding metal. HB ruledthrough sound reinforced bass and percussion.

In late 1994, Daniel Riddle left Hitting Birthto form King Black Acid. This month Riddle’smusical vision is in theaters coast to coast via Ri-chard Gere’s new thriller “The Mothman Prophe-cies” (See As The World Turntables)

REWIND Hitting Birth 1992. photo Tom Robinson

LL

Dear EditorYou should sleep with Bob Olsen’s letter

under your pillow. (Two Dufuses Living InThe Past-Letters-Jan. ’02)

David CorboyPortland

Dear Editor,Don’t think we readers weren’t paying at-

tention to that Guitar Center Pulls Their AdDrama in Letters (December). The corpora-tion fines free speech. That’s one way to reg-

ister an editorial protest but I see they wereback in January with a half page. They mighthate you but they know which rag the playersread. I just pick it up to see what the lawyerdude says anyway.

Matt McWherterPortland, OR

Dear Editor,Glad Two Louies rocks on and on! Thank

you for giving me some ink in the new issue.Great to hang with Scott Gillies I must say.Loved the piece on Greg Sage & The Wipers. Ihave many wonderful memories of checkingthem out at the Earth and the Urban Noize

club. Be well and thank you again.Duane JarvisPO 160626Nashville, TN 37216

Dear Two Louies,I was a bit taken aback last month read-

ing in your letters column an editor’s responseto a reader who wrote, “Billy Rancher was atbest a mediocre writer and player.” Youreditor’s response was “I’d have to say you’refull of shit on that one.” Although I wouldn’thave said it like that, I agree completely.

Betsy HayMilwaukie, Oregon

Page 4 - TWO LOUIES, February 2002

The National Association of Music Merchants’ trade-show. Where musical instrument manufacturers schmooze

retailers and superstar musicians press the flesh.I ran around NAMM this year with my buddy

Tom Childs of StoneWater recording in Sherwood.We both had badges from NARAS representing theNorthwest Chapter. Tom does recording, produc-ing, engineering, and he plays drums, and let ‘s justsay he has “ the ear”. As we wandered from boothto booth in the Anaheim Convention Center, weran into quite a few long time acquaintances, andmet many new people.

First off let me say that the NAMM show isreally for the wonderful folks that own / staff / runyour favorite local music store. It doesn’t matter ifthat store is a locally owned store that has been afixture forever, or if it’s a new store that just openedto serve the local music scene. Heck, itmight even be a large national chain thatopened a Portland location or two. NAMMis put on by those great folks that actuallyMAKE the gear that we use in our day today lives, be it the amps to drive our speak-ers, the mics to record / amplify our voices/ instruments, or even the instrumentsthemselves! Portland and the great PacificNorthwest is home to some of the bestproducts in the whole world, from ampsto guitars to boards, consolesand keyboards. And I haven’teven started to cover computersoftware and hardware. Fromthe land of the strong coffee andyummy dark beers!

But the real purpose of theNAMM show is to let sellersshow off their new products.The big boys as always have allthe groovy new toys we all love.Gibson has many new Les Paul’sbut my favorite new Les Paul, theLes Paul acoustic (not to be con-fused with the Les Paul jumbo)the new Paul has no traditional pickups in betweenthe neck and the bridge. The bridge is the pickup!The flame on this beauty was not to be believed. Iwas not supposed to be in the Gibson room any-

way, buyers only you know. Anyway, check it outat the web page or your local Gibson dealer.

Epiphone has many cool variations on the LesPaul including The Jack Cassady (Airplane-HotTuna) model Les Paul Signature Bass with a changeor two from the Les Paul Signature Bass. Here is a

tidbit that you already know, the first two Les Paulsolid bodies (the “log” and the “beast”) were chunksof trees (4x4’s) and made with parts from theEpiphone factory! Necks and “wings” for Les’s solid

bodies came from Epiphone.Fender was at NAMM in a big way with more

Strats and Teles and J & P basses than you couldshake a stick at. If Leo Fender could decorateheaven it would look a little something like this.And let me tell you, they brought the “ A players”,the starting squad for the jam sessions that werehappening in the Fender room, well, let’s just sayswell just doesn’t cover the who’s who of folks whowould swing by to lay down some Git-tar playing.

If Fender and Gibson aren’t your cup of tea,how about the incredible instruments and amaz-ing art guitars of Paul Reed Smith? I could spendpages telling you about the dragon inlays, but mylack of eloquence with words prohibits me fromsharing how cool these guitars ARE, you need to

check them out, whenever, wherever can, just seethese guitars.

Overall at NAMM acoustic fretted instru-ments (guitars, mandolins, things like that) were

very well represented, The NAMMdirectory showed 6 pages ofluthiers; names like Martin, SantaCruz, Gibson, Fender, Guild,Takamine, Tacoma, Taylor. Speak-ing of Guitars, I scored a GRIP er-gonomic (bent) pick, these picksare so cool, and I have to find aPortland shop that stocks them!And slides; glass, steel all kinds ofslides.

Amps were also big news,first guitar amps, Built in model-ing amps (ie: Line6 ) were all therage with the players, whether asoutboard gear, stomp-boxes, orbuilt into the amps or even theguitars themselves, everybody itseems was showing some sort ofmodeling amp.

Also big at NAMM wastubes. In amps, pre-amps, mics,everything had tubes. Some of theamps I had the good fortune toenjoy were (in no particular or-der) Kustom, Marshall (Jim

Marshall was there ), Tube Works, Peavey, Yamaha,Gallien-Krueger, Vox, Hartke, Fat Cat, Gibson,HiWatt , Sunn, Pignose, Carvin, Orange, Fender

By Steven Landsberg

Continued on page 18

Big pic; Jason Fineberg (NARAS-LA), Bobby Landsberg(Portland musician) and Carey Christensen (NARAS-LA) schmoozing in the Grammy booth.

photos Uncle Steve

Small pic; Drummer Kenny Aronoff (John Mellencamp, Bob Seger, SmashingPumpkins) with Portland engineer Tom Childs.



(s)— Kissing BookMagic Marker Records

Kissing Book, under the auspices ofsongwriter, lead singer, keyboardistAndrew Kaffer. Previous Kissing Book

recordings have featured a revolving array of sup-port musicians, often causing the music to losefocus, seeming rather precious at times. Malignedin some circles of the press as being’“twee,” Kafferand cohorts do seem to occasionally exhibit an artyhauteur that could be off-putting to the wrong ears.

However, fighting off the outrageous slingsand arrows of indifferent press, Kaffer has re-grouped, adding bassist/guitarist Drew Cramer andsuperbly tasty drummer Adam Bayer. Kaffer’s de-livery is still occasionally precious, but smart aswell, and always with a keen sense of economy; stillarty, but often artful as well. Here, with DustinReske (Rocketship) acting as producer/engineer(as well as contributing occasional back-ground vox and guitar), the band con-jure together a Jazz/Latin/Pop sound thatis alluring and succinct.

The doleful bossa nova “HeyKids” is configured first among thedozen songs presented here . Kaffer’sforlorn vocal slowly unwinds what is,in reality an anti-establishment dia-tribe: “But when they say it’s not theend of the world/You know they’re right/But are they right/Or are you just too scaredto admit that you know/That saying no tocorporate america is not enough.” Hmmm.....Bayer’s slick drumwork provides a fine platform

for the moody duet between Cramer’s muted gui-tar and Kaffer’s dark electric piano pads— faintlyreminiscent of latter day Talk Talk.

A rubbery piano/bass figure bounces repeti-tively, motivating “Selfish” through thick waves oflanguid guitars. Hypnotic. The two instrumentalpieces “Set Of Numbers” and “Another Set OfNumbers” allow the band members to explore theirimpressive Jazz sensibilities. Especially splendid areBayer’s spectacularly subtle chops. Acoustic andelectric guitars, reflect and refract each other ininteresting variations on “Of Nativity,” creating ananxious atmosphere of disassociation. Reske andCramer create sparkling layers of guitars on tinygem “The Times Between The Times.”

Bayer sets a frenetic pace on “Your MelancholyWays,” as Kaffer details the mudanities of neurosisupon the loss of a significant other. Lyrically,“Choose Your Own Title” seems to pick up wherethe previous song left off, though with less agita-tion and some resolution to fate, with practicaladvice. “But when it’s either money or time/Con-victions won’t get you though life/And when allyour time is spent unproductively/It’s time to geta job.” One of the most focused of the numberspresented here.

“Dividing Tracks” is a lovely song. Droningorgan tones play against flittering glockenspieltones while Kaffer supplies introspective lyrics thatcapture a universal feeling of change and growth.“Natural Raft,” a lyric written by Jason Manley, fitsnicely into the thematic flow, contemplating a fu-ture in adulthood. “With your sleeve over your

heart/Your wallet feels just right.”Andrew Kaffer and Kissing Book offer intel-

ligent, thoughtful music that is a testament tomusical austerity and prudence. While the gravityof Kaffer’s sphere is still inwardly directed, there isevidence that his gaze has begun to be directedoutward where new impressions await him, like amillion stars in the sky.The Holidays— The HolidaysSelf-Produced

Here’s a fine new foursome who havespent the past several years honingtheir material to acute sharpness,

before releasing this debut, seven song CD. Hav-ing been friends nearly all their lives and musiciansfor nearly half of that time, in some ways, theirsound would seem to be a natural extension of theirfriendship.

Together, the lads have crafted a polished Popsound, which occasionally calls to mind XTC orU2, Radiohead and even the Beatles at other times.Guitarist David Hughes is the chief singersongwriter in the band, teaming with fellow gui-tarist and background vocalist Lucas Adams andthe family rhythm section of the brothers Swenson,Jamin on bass and Peter at the drums.

“Parasol” leads off the set with a decided Brit-ish flavor, Adams’ harmony vocal clinging tightlyto Hughes’ lead line. Restrained verses give way tounbridled choruses and a very nicely arranged sologuitar section that is broken up with junks of lyric.A cool presentation. “Apartment 26B,” plays off a



THE CURRENT “SEVEN-YEAR LAW”CONTROVERSY – WHAT’S THE DEAL?

One of the hottest issues in the musicindustry right now involves the campaign of the Recording Artists Coa-

lition, comprised of many top recording artists, tohave Paragraph B of Section 2855 of the Califor-nia Labor Code repealed. Section 2855 is the so-called “Seven-Year Law,” also sometimes referredto as the “DeHavilland law” (for the reasons men-tioned below).

Before getting into the details of the currentcontroversy, first some background on what the“Seven-Year Law” says.

In short, there are two main sections of the“Seven-Year Law”: Paragraph A and Paragraph B.Both of these are relevant to the current contro-versy, but it is only Paragraph B that is being soughtto be repealed.

“Paragraph A” of California’s “Seven-Year Law”“Paragraph A” of the California statute pro-

vides that no contract to render personal servicescan be enforced by an employer against an em-ployee beyond seven years from the beginning ofthe contract. In other words, if an employmentagreement is to last for more that seven years, theemployee can walk after seven years.

“Paragraph A” applies to all personal servicecontracts entered into between “employers” and“employees,” including actor contracts, athlete con-tracts, and recording contracts, and any other kindof employment agreements. For purposes of the“Seven-Year Law,” recording artists are considered“employees” of record companies, and recordingcontracts are considered “employment agree-ments.” Again, Paragraph A applies to all employer-employee “employment agreements” for any kindof employees whatsoever, and not just recordingagreements.“Paragraph B” of California’s “Seven-Year Law”

On the other hand, Paragraph B (the subjectof the current controversy) applies ONLY to re-cording agreements and recording artists, and not

to any other kind of “employees.”Paragraph B says, in effect, that if a recording

artist seeks to exit from a recording contract at theend of seven years after the contract was enteredinto, the record company can sue the artist for dam-ages based on the failure of the artist to record theremaining albums provided for in the contract. Forexample, if an artist were to seek to exit a contractafter seven years, but had only recorded five of theseven albums required by the contract, the recordcompany could sue the artist for damages basedon the artist’s failure to record the remaining twoalbums.

Paragraph B has been a huge thorn in the sidefor artists since it was originally enacted in 1987.

Therefore, earlier this year, Kevin Murray, a mem-ber of the California Legislature (and a formermusician and talent agent), introduced a bill in theCalifornia Legislature to repeal Paragraph B of the“Seven-Year Law.” This proposal is supported bythe Recording Artists Coalition, and opposed by

all the major labels and by the Recording IndustryAssociation of America (the trade association ofall of the major labels).

Some Background on the “Seven-Year Law”Some historical background may help to give

a little perspective about the current controversy.The “Seven-Year Law” has been in effect since

1872, although originally it made personal serviceagreements binding for only two years. In 1919the two years was changed to five years, and in 1931,to seven years.

The “Seven-Year Law” first became a big dealin the entertainment industry in 1947, when theactress Olivia DeHavilland sued Warner Brothers,using the “Seven-Year Law” as the legal basis forescaping/exiting her employment agreement withWarner Bros. The lawsuit was eventually decidedin Olivia DeHavilland’s favor, and played a big rolein the creation of a new “free agency” era for ac-tors, many of whom had previously seen their ca-reers shelved by the studios, without having anysignificant practical recourse due to the power ofthe studios. As a result of the lawsuit, the “Seven-Year Law” is still sometimes referred to as the“DeHavilland law,” even though the law had beenin effect for many years before the DeHavillandlawsuit.

From the time of the DeHavilland lawsuit,until 1987, there were no new major changes inthe “Seven-Year Law”. Then, in 1987, the RIAA (onbehalf of the major labels) sought to amend thestatute to, in effect, change the seven-year periodto a fourteen-year period under certain circum-stances. Although the RIAA was not able to ac-complish that change in the statute, they insteadwere able to get Paragraph B added to the statute,which (as mentioned above) allows record labelsto sue recording artists for damages.

Many artists have sued major labels in recentyears to try to escape their recording contracts af-ter seven years. (In fact, one of the grounds ofCourtney Love’s current lawsuit against Universal

is her right to exit the recording contract pursuantto the “Seven-Year Law.”) However, artists havegenerally been willing to renegotiate, rather thanforce the issue and try to get out of their contractsby going all the way to a final court decision, partlybecause of certain uncertainties about how the

“Seven-Year Law” will be interpreted by the courts,and partly because of concern about liability fordamages under the provisions of Paragraph B ofthe “Seven-Year Law.”

Similarly, record labels have been willing torenegotiate their deals with the various artists whohave sued, rather than refuse to negotiate and riskgetting a court opinion which might interpret theSeven Year Law adversely to the labels. In short,the labels have preferred to renegotiate some indi-vidual deals, rather than risking a possible adversecourt decision which could then be used as caseprecedent against the label by all of the labels’ otherartists.

Incidentally, in the case of Courtney Love, shehas stated that she does not intend to settle the caseor renegotiate her contract, but instead intends togo all the way with the case and try to get a courtdecision terminating her recording contract. Timewill tell.

What Contracts Are Affected By the “Seven-Year Law”?At the present time, due to the lack of ad-

equate case precedent, there is some question as tohow many artist contracts are affected by the“Seven-Year Law.” (California is the only majorentertainment State which has such a law.) Almostcertainly, the contracts of all California-based art-ists are under the purview of the “Seven-Year Law.”Very likely, the contracts of artists who do any sig-nificant amount of their work in California are alsounder the purview of the “Seven-Year Law”. Otherthan those situations, the legal situation is some-what murky and complicated. Suffice it to say, thereare many artist situations in which it is difficult topredict whether the courts would say thatCalifornia’s “Seven-Year Law” would be applicableto that particular artist’s recording agreement.

Some labels, in order to try to avoid the prob-lems which are caused labels by California’s “Seven-Year Law,” insert a provision into their recordingcontracts which says that the laws of New York willapply to that contract, and not the laws of Califor-nia. Yet, it is a very open question, legally speak-ing, whether such clauses are enforceable in the caseof artists who do not reside in New York or haveany major connection to New York.

The Basic Problem With The “Seven-Year Law”The typical recording contract requires the



The Maroon’s at Dante’s



REPLICATION GUIDE

Allied Vaughn1434 NW 17th AvenuePortland, OR, 97209503-224-3835mary.jo.hurley@alliedvaughn.comwww.alliedvaughn.comMary Jo HurleyRates posted at website: NO500 CD Package Cost: $1,895.003 color on-disc printing. 4/1 4-panel in-sert + tray card, in jewell case withshrinkwrap1000 CD Package Cost: $1,795.003 color on-disc printing. 4/1 4-panel in-sert + tray card, in jewell case withshrinkwrap

AToZMusic.com611 Broadway, #430New York, NY, 10012212-260-0237salesmarketing@atozmusic.comwww.atozmusic.comRates posted at website: YES500 CD Package Cost: $1,375.00Glassmaster + CD with 2 Color Label +Standard Jewel Box & Wrap + Printing of4 Panel 4x1 Color Folder & Traycard(1000 minimum) + Films & Matchprints.1000 CD Package Cost: $1,600.00Glassmaster + CD with 2 Color Label +Standard Jewel Box & Wrap + Printing of4 Panel 4x1 Color Folder & Traycard(1000 minimum) + Films & Matchprints.

Audio Duplication Plus5319 SW Westgate DrivePortland, OR, [email protected] HemingwayRates posted at website: NO500 CD Package Cost: $1,050Retail Ready package. Descriptions un-available.1000 CD Package Cost: $1,300.00Retail Ready package. Descriptions un-available.

CD Forge1620 SE Hawthorne,Portland, OR, [email protected] posted at website: YES1000 CD package Cost: $1,185.003 color on-disc printing. 4/1 4-panel in-sert + tray card, in jewell case withshrinkwrap. Soundscan registration andupc barcode included.

CD-ROM Works139 NW SecondPortland, OR, [email protected]

Rates available at website: YESThey charge the same rate for500 CDs as they do 1,000. Gofigure.1000 & 500 CD Pkg Cost:$1,460.003 color on-disc printing. 4/1 4-panel insert + 4/0 tray card, injewell case with shrinkwrap.

CDman Disc Manufactur-ing7791 Montcalm StreetVancouver, B.C., CAN, [email protected] ArnattRates posted at website: NO500 CD Package Cost: $916.002 color on-disc printing. 4/1 4-panel in-sert + 4/0 tray card, in jewell case withshrinkwrap, includes shipping.”1000 CD Package Cost: $1,316.002 color on-disc printing. 4/1 4-panel in-sert + 4/0 tray card, in jewell case withshrinkwrap, includes shipping.”

CDRom2go.com21430 N. 20th AvenuePhoenix, AZ, [email protected] posted at website: YES1000 CD Package Cost: $1,295.00Glass Master, ISO 9002 replication, 4-color on-disc silkscreen, 4-color 2-paneltray insert, plus 2-panel tray liner withspine, jewel case, insertion and ‘Cigarette’wrap and UPC Coding.

Co-Operations, Inc.16698 SW 72nd AvenuePortland, OR, 97224503-646-2286sales@co-operations.comwww.co-operations.comRates posted at website: NORates & information unavailable.

Cravedog RecordsPO 1841, Portland, OR, [email protected] CrosbyRates posted at website: YES1000 CD Package Cost: $1,170.004 color on-disc printing. 4/1 4-panel in-sert + tray card, in jewell case withshrinkwrap.

Digidoc Productions1460 East KatellaAnaheim, CA, [email protected] Peterson

Rates posted on website: NO500 CD Package Cost: $1,183.00Glassmaster + CD with 2 Color Label +Standard Jewel Box & Wrap + Printing of4 Panel 4x1 Color Folder & Traycard. Pricereflects a $100 “internet discount.”1000 CD Package Cost: $1,448.00Glassmaster + CD with 2 Color Label +Standard Jewel Box & Wrap + Printing of4 Panel 4x1 Color Folder & Traycard. Pricereflects a $160 “internet discount.”

DigitalCDR.com330 West Gray, # 135”Norman, OK, [email protected] posted at website: YES500 CD Package Cost: $1,395.003 color on-disc printing. 4/1 4-panel in-sert + tray card, in jewell case withshrinkwrap.1000 CD Package Cost: $1,495.005 color on-disc printing. 4/1 4-panel in-sert + tray card, in jewell case withshrinkwrap.

Disc Makers730 Andover Park WestTukwila, WA [email protected]://www.discmakers.com500 CD Package Cost: $1,7903-color on-disc printing, 4/1 4-panel in-sert and tray card, in jewel box withshrinkwrap and proofs via FedEx over-night. Includes barcode and 12-dayturnaround.1,000 CD Package Cost: $1,8903-color on-disc printing, 4/1 4-panel in-sert and tray card, in jewel box withshrinkwrap and proofs via FedEx over-night. Includes barcode and 12-dayturnaround.

Diskduper.com4 Jenner Street, Irvine, CA, [email protected] posted on website: YES

500 CD PackageCost: $870.00No full color insert and tray card. But itdoes include a color label and jewell case.1000 CD Package Cost: $1,440.00No reference to full color insert and traycard. But this does include a jewell case.

Dungeon Replication877-777-7276info@www.dungeon-replication.comwww.dungeon-replication.comRates posted on website: YES1000 CD Package Cost: $1,235.00Includes glass master, 3 color on-discprinting, 4/1 four panel folder, 4/0 traycard, jewell case, assembly andshrinkwrap. You supply the films.

ExpressCD.com2211 NE Oregon StreetPortland, OR, 97232503-235-2211www.expresscd.comBrad DanielsonRates posted at website: NO500 CD Package Cost: $1,000.003 color on-disc printing. 4/1 4-panel in-sert + tray card, in jewell case withshrinkwrap.1000 CD Package Cost: $1,890.003 color on-disc printing. 4/1 4-panel in-sert + tray card, in jewell case withshrinkwrap.

Front Porch CD31 Central Square, #2Keene, NH, [email protected] posted on website: YES1000 CD Package Cost: $1,379.00Includes CDs with 2 color disc label,printing of 4-color folder cover, 4-colortray card, jewel box, insertion, andshrinkwrap. (Shipping additional.)”

Logic General6713 SW Bonita Rd. #210Portland, OR, 97224


Jennifer Folker and Dahlia will be at Ohm’s Birthday Party.


Rosebud

LL

I guess what’s on my mind most today isthe snow! We’ve got the home fires burning and I’m still laughing at the awful

jokes from The Blue Collar Comedy Tour that I sawlast night. Jeff Foxworthyand Bill Engvall were re-spectably humorous.KUPL had twonearly sold

out perfor-mances and the com-

ics gave us guff about the weather, and remindedus that we all have a little red neck in our lives.

I can’t let this column go to press with-out mentioning thephilosophy of my lifethis week. “I existtherefore someone’spissed”. It certainlyrings true of recentevents. It’s funny howyou write good thingsabout people, be sup-portive and open towhat everyone is doing,and then you still get shit.I learned some hard les-sons back in the day whenI was getting trained inLantana, Florida to berank and file for the Na-tional Enquirer. Aftermany tortuous times, Ipassed on the big bucks andfailed miserably at being thekind of reporter the tabloidwanted. It took a long timeto rally from the depths ofpoverty in Manhattan’s rat race, to being here andmaking a place for myself, and my work. I made achoice to come back to Oregon because this is thegreat state where my children were born and I fellin love. I will continue photographing and writ-

ing about what I want. People will take offence toanything. I’m not sure what it all means in thelong run, but I want to thank a few cool headedfolk for telling me like it is. I’ll keep the details inthe dark to protect the guilty, and finish this ser-mon by saying that strong reactions good or bad

to what you write, do, or create, is a good andhealthy thing. I encourage everyone to keep oncreating and not to worry what the angry folk do.

The most romantic holiday is upon us, andthis Valentine season I find thatmy heart is filled with many loves.

In 2002 I love tea! Hot pots, tanta-lizing toddy’s, cool drinks and of course

Earl Grey. I’m sticking to my New Year’s resolu-tions, studying the winter birds, and listening tomy January pick: Ken Burns Jazz. I watched KenBurns OPB Special about Mark Twain and

loved every momentof the two partdocumentary.

I’ve been hangingat the Library and I’mhere to tell you that the Library is the coolestplace to be! Browsing through the racks and tak-ing home books about Lewis & Clark, the early days

of Astoria, Oregon hiking trails, and the coveredbridges of Oregon, make me happy. I went to hearWalt Curtis, Ursula K. LeGuin, Vern Rutsala, GregSimon, Sandra Stone, Primus St. John and JosephSoldati at the birthday tribute for William Staffordat the library’s U.S. Bank Room. I sat with a room

full of writers and poetry lovers who listened tothe remarkable words by a beloved Oregon poet. Ihad the good fortune to meet his beautiful wifeand I thoroughly enjoyed the choices that the il-lustrious group of readers made from Stafford’s vo-luminous work. Listening to his pragmatic wis-dom and simple verse brought tears to my eyes.

I went to an Eola Winery dinner in Astoria atthe Voodoo Lounge. It was great fun and the foodand wine were fantastic. I especially enjoyed thewinemaker Steve Anderson and Chef Uriah Hulseydescribing the wines, the food, and how theymatched the different courses with the wines. Ithought the1999 Old Vine Zinfandel was the bestwine of the evening, and the home made gravlaxand salad greens with mustard, dill vinaigrette wasthe best dish.

Speaking of Astoria, I went to Jim Stouffer’sfiftieth birthday party where Lloyd Jones was play-ing with his band. All of Astoria was there to cel-ebrate in Jim’s huge photography studio overlook-ing the Columbia River. It was a grand time hadby all and I got to see some of the local color like

Johnnie Wardand friends,D a v i dCrabtree, JaneHerald, Col-leen O’Neal,and ColleenSiegfried.

A perfor-mance that Ithink is worthchecking out isAnd God Cre-ated GreatWhales, whichis being broughtto Portland byPICA and Port-land CenterStage. It starscelebrated com-poser, writer,performer andRinde Eckert and

mezzo-soprano Nora Cole, who’re both exquisitesingers. PICA and PCS are working together onbringing this piece, which is based aroundMelville’s Moby Dick to Portland’s audiences. I wishthem great success. The performances are Febru-ary 7, 8, and 9 at the Newmark Theatre at the Port-land Center for the Performing Arts. The ticketsare $23 general admission, $20 PICA members orPCS subscribers. Tickets are available at PICA Boxoffice 219 NW 12th or by calling PICA 503 242-1410 or through Portland Center Stage at 503 274-6588.

Write to me: [email protected]


Show me the money.“’The Mothman Prophecies’ took in 11 million

dollars this week, says Daniel Riddle, and my pieceof the action is my cell phone being shut off.”

Daniel and his band King Black Acid have 7songs on the film’s soundtrack album and one inthe movie itself. “It’s ironic, we gave them 8 finishedsongs and one demo, and they used the demo in thefilm.”

“Our music is in, what we called, the ‘MakeoutAttack Scene’, where the kids are describingMothman in a flashback.”

The Richard Gere vehicle came in at #6 withthe 11.2 million gross for the first week of releasefrom 2,331 screens.

King Black Acid’s music has been used in adozen movies but this is the first time Riddle createdmusic specifically for individual scenes. “We watchedthe video they gave us, got what we felt was therhythm of the scene, and recorded watching themonitor, on 8 track digital and dumped it down toPro Tools.”

“We didn’t get a lot of money for this projectsays Riddle, “all of the money we made went rightback out for production. It cost us money to be onthis soundtrack.”

In one of the first King Black Acid shows everthey appeared live on Marc Baker’s Church OfNorthwest Music radio show on KBOO. “We justlived about 2 blocks away”. Says Daniel “Up till thatpoint we were just keyboards and guitars.”

“That show went extremely well,” remembersMarc Baker, “ It was a magical evening. Jay Bozichdid an awesome job engineering. I think the bandfloated a copy of the cassette to Cavity Search andthey offered to put it out.”

“We feel like a real local band,” says Riddle “Partof the community.”

��

Show me the swag.Columbia Records made Craving Theo feel like

a headliner at the band’s CD party for their self-titledColumbia debut, at the Roseland January 26th.Columbia had Craving Theo laminates for the CDparty printed up and sold with CDs at Millenniumand Tower Records.

There was even a cake.KUFO plugged the show all week and Craving

Theo band-members appeared on Tom Turner’sshow promoting the album’s release and CD party.

��

No ayes of Texas.

anywhere to be found in the propaganda.But hey, Hanson will be there.The Derailers, Austin’s hottest local band can’t

stop talking about Portland on National PublicRadio in an interview now running. Guitarist TonyVillanueva, formerly of Portland’s Love On Iceexplains how he and Derailers guitarist BrianHofeldt left their bands in Portland to move toAustin to play country.

“That’s right, you can’t very well do the two-step in Birkenstocks”, replies the NPR flack.

The Derailers have a new album “Here ComeThe Derailers” on Sony and according to MusicConnection Villanueva and Hofeldt have signed anexclusive long-term writer’s pact which “alsoincludes back-publishing rights to songs from thegroup’s previously recorded albums.”

Showing their rising status in Country Music,the Derailers were just selected to headline theNashville Fan Fair June 13-16. The Fan Fair isCountry Music’s hometown radio industryshowcase.

Right now, the Derailers are out on a DelbertMcClinton Sandy Beaches Cruise. Ya’ll know aboutthat, right? Where Delbert and two dozen of hisfavorite bands take over a giant cruise ship andcharge $2,500 a head to entertain hundreds andhundreds of passengers from Miami to the Bahamas?

��

Lloyd Jones and his band did the DelbertMcClinton Sandy Beaches Cruise.

Sweet. Very sweet.

��

The Ohm is three years old.Three years ago already when Dan Reed

surprised everybody by stepping off the stage andtaking the keys from Tony DeMicoli at the Key Largo.

Performer to proprietor, the ever networkingMr. Reed cut back his personal appearances andconcentrated on finding talented people to join hisclub.

Ohm has produced a scene and has its own starsand all of them will be there to party on Saturday,February 16th.

Even Dan Reed’s enigmatic Odyssey is on thebill scheduled to go on at 1:30AM Jennifer Folkerwill open the show guesting with Drumattica at9:30PM—Floater comes on at 10:30 and the lovelyMs. Folker returns with Dahlia at 12:30. DJGrasshopper takes over at 2:30 till 4AM.

Dan Reed’s network.

��

In the early network Marlon was the man.Marlon McClain was with Dan Reed at the

beginning of his musical recording odysseyproducing the two song EP that generated the majorlabel deal for the Dan Reed Network.

Marlon now owns a successful label in LosAngeles and gave Dan Reed a nice big plug in the

current issue (2/03/02) of Music Connectionmagazine.

The LA trade magazine gave McClain a fullpage with photo. “While a founding member of(Portland) R&B band, Pleasure Marlon McClain,Co-President of Major Hits Records worked closelywith the founders of Fantasy Records to develop,produce and direct artists signed to the label. Whilethere, he honed his chops as a producer beforebranching off into work with a number of notableacts including Ronnie Laws, Jeff Lorber Brownstone,Brandy, Art Porter, Regina Belle, Smokey Robinsonand Maurice White.

Marlon says of his business experience, “I’vehad my own production company called MacmanMusic. I’ve had that since about 1979. We had a littlelabel up in Portland called Dark Horse Records.From that, we were involved with acts like the DanReed Network (Insert Ohm chant here). Then I had

South By Southwest in Austin March 13-17th,and the first time in years Portland acts aren’t

Columbia heavy Kid Leo shows up to launch Craving T



a production company out of Portland where Iproduced acts like Jeff Lorber, Kenny G and NuShooz. For awhile I was involved with almostanything that came out of the Northwest in the mid-Seventies and early Eighties.”

Marlon McClain continues to be one of thebrightest graduates of the Portland Street School ofMusic. Indie before it was hip. Now Marlon leads

the United We Funk movement and has a hit albumon Major Hits by Gap Band founder Charlie Wilson.

“Our first record, almost three years ago, wascalled United We Funk. It was a new studio recordthat had Charlie Wilson of the Gap Band, The S.O.S.Band, The Dazz Band, Rick James, Confunktion andthe System. We put that together and put it outthrough a distribution deal we had with RhinoRecords.”

To support the album McClain put together theUnited We Funk Allstars and did 40 dates.

Of his current hit with Charlie Wilson Marlonsays, “He already had a really strong name withinthe Urban community both as an old-school andnew school artist due to his work with Snoop Doggand Master P. Charlie has a strong admiration fromthe hip-hop community. He made a really greatalbum that for us has been a big success. It’s rightnow over 200,000 pieces. The record went #1 with

the song “Without You” for six weeks at Urban A/Cand to #13 on the Smooth Jazz charts. Right now,after it’s been out over a year, it’s # 27 on the A/Ccharts.

Send that Ohm birthday party invitation toMajor Hits Records 14930 Ventura Blvd #340,Sherman Oaks, CA 91403

��

Special for Bob Olsen.Meredith Brooks gets the picture in Melinda

Newman’s Billboard column The Beat (2/9/02).Tagging her the “Golden Girl” Melinda reportsMeredith’s new album Bad Bad One on Gold CircleRecords will come out April 23rd preceded by a singlein March.

��

A few, scary, moments.Does the name Mark David Chapman mean

anything to you? Fred Durst must have wonderedfor a split second when he visited Guitar Center inClackamas weeks ago as part of a national “LimpBizkit Guitar Search”- and was hit in the head witha cream pie thrown by 18-year old Richard Petrillo-who had to perform a kamikaze leap to hit his target-guarded by no less than 12 uniformed sheriff ’sofficers, 6 plain clothes officers and the two LimpBizkit personal body guards who would haveprobably beaten Petrillo to death if the deputiesweren’t there.

Altamont ring a bell?According to a story by Stephen Beaven in the

Oregonian (1/18) Petrillo was booked facing chargesof “disorderly conduct and harassment”. Beavencharacterized the incident as “a moment of true rockstar humiliation”.

Woodstock karma...

��

And the Grammy goes to...During Grammy Week, before the television

awards show NARAS plans a reception in theballroom of the Regent Beverly Wilshire for theNARAS/American Bar Association sponsoredEntertainment Law Initiative which was establishedto “promote discussion and debate about the mostcompelling legal issues facing the music industrytoday.”

Law students from across the country wereinvited to ”research, analyze and submit essaysregarding important issues facing our industry.”

At the Fourth Annual ELI luncheon Feb 26th

Contest Winners will be introduced and the keynote

speaker will be Jack Valenti, Chairman and CEO ofthe Motion Picture Association.

Yeah, that Jack Valenti.Sitting just a few seats down will be a member

of the Entertainment Law Initiative ExecutiveCommittee, our own legal mouthpiece, Bart Day.

Attaboy Bartley.See this month’s Legal Ease P. 7 for Bart’s take

on the recording artist revolt currently taking placein California.

��(Maybe, by next year, a Grammy for Mastering

Engineers?)

��

Music is an Olympic sport.Several Portland acts are headed for Salt Lake

City to get in on the phenomenon.Smooch Knob bought stacks of new Mesa

Boogie gear for Salt Lake City and Scott Fisher’s bandwill play for the frogs at two official 2002 OlympicWinter Games showcase gigs in Salt Lake City “aspart of the French Government’s Olympic focus onFrench culture.”

Scott grew up in Bordeaux and Paris. Hismother is a Professor of French at PSU and currentlythe Honorary Consulate of France in Portland.

The Scott Fisher Project will play February 11th

at the Zephyr Club, the city’s “largest rock club” andFebruary 12 at the Cabana as part of the FrenchConsulate’s French Sound Goes to the Olympicsseries.”

��

How about that Super Bowl?Weeks ago, Oregon Music Hall of Fame

soundman Bob Sterne (Buffalo Springfield, Crosby,Stills... Nash... Young) headed to New Orleans to wireup the sound for the football game that has becomeone of the big time annual music events.

Bob has been doing this forever, but this yearprovided special challenges with scheduledappearances by Paul McCartney and U2, whodemanded “the most live sound ever”, whereas, onoccasion in the past pre-recorded music might havebeen played back through the monitors.

Are we giving away trade secrets here?

��

The beat goes on.With the assistance of Kurt Bevers at Brownell

Sound we upgraded the Two Louies studio drumbooth with a Korg N5 64 voice music synthesizer.

photo Bukong Theo’s debut album.


Continued from page 9

503-598-7747www.logicgen.comTom WilliamsRates posted on website: NOData unavailable.

Luminous Flux Records194 Cypress StreetRochester, NY, 14620800-726-2611www.flux.netRates posted on website: YES500 CD Package Cost: $1,249.002 color on-disc printing. 4/1 4-panel in-sert + tray card, in jewell case withshrinkwrap. Includes all film, proof andprinting fees. Add $50 for barcode. Ship-ping and 8.5% tax not included.1000 CD Package Cost: $1,649.002 color on-disc printing. 4/1 4-panel in-sert + tray card, in jewell case withshrinkwrap. Includes all film, proof andprinting fees. Add $50 for barcode. Ship-ping and 8.5% tax not included.

Marcan, Inc.1800 - 112th Ave, # 205E”Bellevue, WA, [email protected] NiedringhausRates posted on website: NO500 CD Package Cost: $1,195.003-color Screenprinting packaged in JewelCase with 4-Panel 4/0 Color Printed In-sert & Tray Liner and Shrinkwrapped.1000 CD Package Cost: $1,950.003-color Screenprinting packaged in JewelCase with 4-Panel 4/0 Color Printed In-sert & Tray Liner and Shrinkwrapped.

MusicProductions.com6337 Ivarene Ave.Los Angeles, CA, 90068323-465-8788mail@musicproductions.comwww.musicproductions.comRates posted on website: YES1000 CD Package Cost: $1,537.003 color on-disc printing. 4/1 4-panel in-sert + tray card, in jewell case withshrinkwrap. Price reflects all label andinsert film fees.

MusicToday.com3305 Lobban PlaceCharlottesville, VA, 22903877-347-2737

www.musictoday.comRates posted at website: YES1000 CD Package Cost: $1,159.003 colors on-disc printing, jewel box shrinkwrap, black or clear tray.

Nettleingham Audio108 E 35thVancouver, WA, 98663360-696-5999kevin@nettleinghamaudio.comwww.nettleinghamaudio.comKevin NettleinghamRates posted on website: YES500 CD Package Cost: $995.003 color on disc print, 4 page 4/1 insert andtraycard, (black or clear tray) Jewel Casesand Overwrap, shipping to the Portland/Vancouver area.1000 CD Package Cost: $1,295.003 color on disc print, 4 page 4/1 insert andtraycard, (black or clear tray) Jewel Casesand Overwrap, shipping to the Portland/Vancouver area.

Northwestern3732 SW MoodyPortland, OR, [email protected] KeenanRates posted on website: YES500 CD Package Cost: $1,175.00

3 color print on disc1000 CD Package Cost: $1,350.00

Oasis Duplication659 Zachary Taylor HwyFlint Hill, VA, [email protected] posted on website: YES500 CD Package Cost: $1,255.002 color on-disc printing, jewel boxes,shrink-wrap.1000 CD Package Cost: $1,485.002 color on-disc printing, jewel boxes,shrink-wrap.

Phylco Audio Duplication10431 Blackwell Rd.Central Point, OR, [email protected] HusaRates posted on website: YES500 CD Package Cost: $936.002-panel full color insert and tray card (4/1, full color outside, black and white in-side) , 2 color on CD, insertion of print-ing into jewel case, shrink wrap, andbarcode.”1000 CD Package Cost: $1,224.002-panel full color insert and tray card (4/1, full color outside, black and white in-


side) , 2 color on CD, insertion of print-ing into jewel case, shrink wrap, andbarcode.Rainbo Records & Cassettes1738 Berkeley St.Santa Monica, CA, 90404310-829-3476info@rainborecords.comwww.rainborecords.comJimRates posted on website: YES500 CD Package Cost: $975.001-color Booklet and Tray Card (fromprint ready film in Rainbo’s specs), 1 colorCD Label, Jewel Box and Shrink-wrap,and quick turnaround.1000 CD Package Cost: $1,249.001-color Booklet and Tray Card (fromprint ready film in Rainbo’s specs), 1 colorCD Label, Jewel Box and Shrink-wrap,and quick turnaround.”

Sensor Blast1040 Shipping St. NESalem, OR, 97303503-585-1741E-mail address not on file.www.sensor-blast.comEric SchechterRates posted on website: NO500 CD Package Cost: $995.003 color on-disc printing. 4/1 4-panel in-sert + tray card, in jewell case withshrinkwrap.1000 CD Package Cost: $1,295.003 color on-disc printing. 4/1 4-panel in-sert + tray card, in jewell case withshrinkwrap.

Super Digital915 NW 19thPortland, OR, 97209503-228-2222superdigital@superdigital.comwww.superdigital.comRick McMillenRates posted on website: YES500 CD Package Cost: $950.003 Color Printing on disc- from suppliedfilm1100 4 page Full Color(4/1) Booklets& Tray cards from supplied color film.Includes FREE UPC BarCode, glass mas-ter, jewell case and wrap.1000 CD Package Cost: $1,165.003 Color Printing on disc- from suppliedfilm1100 4 page Full Color(4/1) Booklets& Tray cards from supplied color film.Includes FREE UPC BarCode, glass mas-ter, jewell case and wrap.

SwordfishDigital.com730 Upper James StreetHamilton, Ontario, CAN877-543-8607info@SwordfishDigital.comwww.SwordfishDigital.comRates posted on website: YES500 CD Package Cost: $529.002-color on-disc silkscreening, 4/1 4-panelinsert & tray card, jewell case, insertionand polywrap.

1000 CD Package Cost: $929.002-color on-disc silkscreening, 4/1 4-panelinsert & tray card, jewell case, insertionand polywrap.

Third Wave Media5225 Wilshire Blvd., Suite 700Los Angeles, CA, 90036800-928-3231E-mail address not on file.www.thirdwavemedia.comAndrew MelzerRates posted on website: YES500 CD Package Cost: $1,059.00Glass master, 2-color on-discsilkscreening, 4/1 4-panel insert & traycard, jewell case, insertion and polywrap.1000 CD Package Cost: $1,299.00Glass master, 2-color on-discsilkscreening, 4/1 4-panel insert & traycard, jewell case, insertion and polywrap.

TripleDisc.com700 Jackson StreetFredericksburg, VA, [email protected] posted on website: YES500 CD Package Cost: $1,275.00Glass master, 3 color on-disc printing. 4/1 4-panel insert + tray card, in jewell casewith shrinkwrap. Price includes all filmand matchproof fees.1000 CD Package Cost: $1,375.00Glass master, 3 color on-disc printing. 4/1 4-panel insert + tray card, in jewell casewith shrinkwrap. Price includes all filmand matchproof fees.

WeCopyCDs.com48641 Milmont Rd.Fremont, CA, [email protected] LarkinRates posted on website: NO1000 CD Package Cost: $2,220.003 color on-disc printing. 4/1 4-panel in-sert + tray card, in jewell case withshrinkwrap. Price includes all film andmatchproof fees.

LABEL GUIDE

Belinae Records7716 SE Clay StreetPortland, Or 97215503-775-2191Email: through www.belinae.comWeb: www.belinae.comOwners: Blake Wood, Big Wicker Ven-triloquist; Mike Mason, Resident TullsterTypes of music released: Various, origi-nal NW music & related projectsTypes of deals offered: Varies; artists’ sup-porting artists regarding publishing,copyright, legal, ASCAP.Artist Roster: The Weevils, Monicas Dress,


gnarled guitar sequence and an Edge-like singlenote figure in the intro, giving way to Hughes’ soul-ful vocals, vaguely resembling Bono. A pretty cho-rus, with deft high-harmony vocals, melts into amuscular instrumental section in the middle. Notbad at all.

The band begins to define a sound for itselfwith the stirring “Pulling Down Art.” A drivingbassline pushes restless drums; as Hughes, withAdams’ sure support. Beautiful, Pre-OK ComputerRadiohead-like passages of emotive vocals andchiming guitars make of this song a winner. Fainthints of Radiohead and Live linger through “LongList Of Titles,” which, for two full minutes is a bal-lad before erupting to full power, Jamin’s intricatebasswork bearing a large portion of the instrumen-tal load, while the two guitars writhe and staggeraround him.

Peter’s infectious beat and Jamin’s contrapun-tal bassline carry “Elizabeth,” while Hughes’ unaf-fected, straightforward vocal dances upon the sur-face. A fiery octave-note guitarsolo in the middle is quite arrest-ing, as, overall, the sound isBeatles-esque in a 21st Centuryway.

“Tomorrowland” bursts intoan inferno with Hughes’ andAdams’ gasoline guitars— remi-niscent of the Afghan Whigs’ RickMcCollum and Live’s Chad Taylor,wielding flamethrowers, whichclear a smoldering path ahead ofHughes vocal. David sounds likeDan Wilson of Semisonic, whenDan was in Trip Shakespeare,cruising upon a big, tom heavybeat. Great stuff.

“Goodnight To My Mary”displays a decidedly high NeilFinn-factor, reverberating of SplitEnz or Crowded House, withseamless vocal harmonies and a determined pro-pulsion from the rhythm section.

The Holidays exhibit the sort of musical co-hesion that a healthy music industry would encour-age and support. However, that is not whatsoeverthe state of the music industry. But they have thetools to be successful and their honest, thought-provoking songs certainly deserve to be heard by alarger audience.Joyce Hotel— Crack City RockersPaisley Pop

The Joyce Hotel is located not far fromthe Crystal Ballroom and, as is true ofmany (but fewer all the time) is the

low-rent home to a variety of denizens and would

seem to be the proper setting for singer/guitaristEric Gregory’s observations, hallucinations, idleboasts, pre-occupations and recriminations. Gre-gory is a true poet and he heaps intense, personalvisions on the backs of simple Pop musical themesas a means to petition his private lord with crazyprayer. But, you cannot petition the lord withprayer.

Around him, Gregory has assembled a cote-rie of like-minded souls: drummer Curt Schulz,bassist Sean Flora and lead guitarist DennisMitchell who pound out a high energy recreationof a wide swath of Glam, Punk New Wave and DIYinfluences— such as T-Rex, Bowie, the New YorkDolls, Iggy Pop, the Ramones, Mick Jagger, LouReed, Garland Jeffries, Love & Rockets and the Vio-lent Femmes. Echoes of the above and more per-meate each presentation.

“I Do All Right” sounds like “Shattered” pe-riod Stones, with Ziggy-era Bowie undertones. Athrobbing-tom jungle beat propels “Zombietime,”as Gregory maintains his Jagger-like vocal stance.Luther Russell’s organ fills and John “Kid Presley”Leubner’s sax add body to the arrangement.

A rousing Ramonesish guitar riff is the cruxof “Hey World,” wherein a strong chorus helps tomake the song familiar the second time you hear

it. Luther Russell returns to play rock ‘n’ roll pianoon “Born Nervous,” a runaway freight of a song,and another of the stronger tracks of the set. “I’mToo Easy On Myself” is a synthesis of three or forBilly Idol songs, though “Dancing With Myself”would be an obvious reference point.

A pretty guitar filigree weaves through theballad “Now I Know,” wherein Gregory freely ad-mits his nearly obsessive and deeply profoundphysical attraction for some lucky recipient. Some-how, even the devil gets into the fray. “You knowthe devil was in my heart/He’s an honest cat & heconvinced me/He convinced me that you are theone/Yr the one, yr the one, the only one for me/Iknew I knew I knew/ I was in thrall to you? Just

had to tell you baby/Sex to sex/I’m obsessed withyou/You are loved.” And I’m certain it’s appreci-ated no end!

Dylan’s “Love Minus Zero” haunts Gregory’s“Rolling Yr Eyes Blue,” a Bukowskian sortie intoseduction, whereupon Flora’s sprinting bass linesin the minor-key sections lends force to the pro-duction.

Eric Gregory’s visions are packed tight withvoogum. His songs drip with it. Instrumentally thisband is as familiar as an old sofa. But there is dark-ness at the core of these emanations and it clingsto the memory like ashes and cold rain.Booth 13 EP— DocileIrritable Bowel

Every band could learn a thing or twofrom Docile, whose two-sided, single-page promotional 8 1/2 By 11, one-

sheet deserves a place in any music promotion Hallof Fame. On one side of the sheet is an introduc-tory letter, in which we are informed that Docilewere once known as P.A.W.N. and had been com-pared to Tool. Now they are moving “into moreemotional territory reminiscent to Deftones andIncubus.”

Below this segment of the page, a column onlists the names and positions of the Band Mem-

bers: Dan Kuehn (guitar),Cameron Kinder (bass,backgound vocals), Uhn (vocals)and Mykael Lundstedt (percus-sion). Musical Genre: Alternativemetal/ Modern rock. Similar art-ists: Tool, Deftones, Staind, Incu-bus, Sevendust. The column onthe right provides a Short BandBio, in which we find that theband officially changed it’s namein January 2001; a brief discogra-phy and a list of citings in variousMedia Publications. below that isa picture of the band.

The reverse side of the sheetcontains the lyrics to the foursongs contained on this EP, as wellas contact information andwebsite references. Why, a reviewof these guys practically writes it-

self! That is the way that any band can find it’sway into print: concision.

The band are good. Heavy. and, as billed, theydo sound like their references. “Ghost Of Me” es-pecially, stands out. Singer Uhn groans with an ef-fected vocal that strangles from the pressure. thickguitars and ballsy bass underscore the urgency ofthe lyrics. “Pulling Teeth” stretches and sways likea body hanging from the garage rafters, turningand twisting in the morning sunlight.

The music here isn’t great necessarily, but itis moving in a positive direction. The promo ma-terial however, is excellent.


LL


artist to record a certain number of albums. Re-cording contracts with major labels generally re-quire the artist to record anywhere from six to eighttotal albums during the term of the recording con-tract. However, these albums are recorded at theoption of the record company on an album-by-album basis, so that the label can drop the artist atany time and not continue with the remaining al-bums. (I am greatly oversimplifying here, but that’sthe general idea.)

The basic problem, as far as the “Seven-Year Law” is concerned, is that as a general rule,artists are not able to record the contractually re-quired number of albums within the seven-yearperiod mentioned above. Theoretically, an artistcould, for example, perform a deal for seven al-bums within seven years, if one album is releasedeach year “like clockwork.” But due to the amountof time that it takes the typical artist to record analbum and then to do all of the necessary touring,video shoots, promotion, etc. to support that al-bum, the vast majority of artists cannot realisti-cally record and release one album a year. There-fore, at the end of the seven years, artists as a gen-eral rule still owe their label at least one more al-bum, and often more than one.

Why Artists Want To See “Paragraph B” RepealedThere are a number of reasons why the Re-

cording Artists Coalition wants to see Paragraph Brepealed. Some of these reasons are as follows:

1. The purpose of the “Seven-Year Law” isto allow “employees” to escape personal serviceagreements after seven years. Yet, the fact that thelabels can sue artists for damages for yet unre-corded albums makes it too risky for artists to exitrecording contracts after seven years, and that as aresult, Paragraph B defeats the purpose of theSeven-Year Law.

2. Paragraph B singles out recording artistsand does not apply to anyone else. For example, itdoes not allow a television network to sue a televi-sion personality, or a sports team to sue an ath-lete, for damages for any unfulfilled commitmentsremaining at the end of the seven year period.

3. Paragraph B creates a “one way street”situation in the label’s favor. Under Paragraph B,labels can sue artists for damages based on yet un-recorded albums, even though the label has notexercised its options for those albums (or paid theartist the advances for those albums), and eventhough the artists are not guaranteed that the la-bel would have ever released or adequately mar-keted those future albums if and when they hadbeen recorded.

4. After seven years, recording artists shouldbe able to be “free agents” and test their marketvalue by seeking deals that are fully commensu-rate with their career status at that time.

The Major Labels’ ResponseIn response, the labels argue as follows:1. The labels argue that it is fundamentally

unfair for artists to be able to exit recording con-

tracts after seven years, after the labels have investedsubstantial sums to promote the careers of thoseartists.

2. The labels argue that if Paragraph B of thestatute is deleted, they might move their operationsout of the state of California in order to avoid theeffect of the “Seven-Year Law”. They also argue thatthey might sign fewer California-based artists ifParagraph B is repealed.

Current Status of the Proposal to Repeal Para-graph B

Legislative hearings were held in Sacramentoon January 23rd, with numerous major artists tes-tifying in support of the proposal to repeal Para-graph B. Such artists included Don Henley, SherylCrow, and the Offspring’s Dexter Holland. Also,representatives from the American Federation ofMusicians (AFM) and the American Federation ofTelevision and Radio Artist’s (AFTRA) werepresent to support the repeal. Representatives from

various major labels and the RIAA testified in op-position to the repeal of Paragraph B.

All of these parties are presently lobbying vari-ous California legislators, and there is talk of someof these legislators trying to achieve some kind ofcompromise solution to the situation. There hasalso been talk of additional hearings being held.

In the meantime, the Recording Artists Coa-lition is sponsoring several concerts to be held inLos Angeles later this month, the night before theGrammy Awards. Scheduled to appear at the Fo-rum are Sheryl Crow, the Eagles, and Stevie Nicks.The Dixie Chicks, Trisha Yearwood, DwightYoakam and Emmylou Harris will appear at theUniversal Amphitheater. No Doubt, the Offspring,and Weezer will be at the Long Beach Arena. Beck,Eddie Vedder, and Mike Ness will play the Wiltern.

Incidentally, to see the actual text of Section“Seven-Year Law”, go to www.twolouiesmagazine.com

the Two Louies website.Stay tuned for further developments.

Editor’s Note: Bart Day is a Portland-basedentertainment attorney in private practice. He is alsoa partner in ALLMEDIA, Ltd., a company with of-fices in Portland and Los Angeles which administersmusic licensing for independent film and televisionproduction companies, and for various record labelsand independent music publishers.

Bart is also the co-author of a chapter in TheMusician’s Business and Legal Guide, a book com-piled by the Beverly Hills Bar Association and pub-lished by Prentice-Hall Publishing (New York).

The reader is cautioned to seek the advice ofthe reader’s own attorney concerning the applicabil-ity of the general principles discussed in this columnto the reader’s own activities.


LL


and that’s the first one tenth of one percent of avail-able units. The power amps were also there in force,Mackie, Carvin, Gallien-Krueger, Carver, and hostsof other fine companies.

Speakers of all shapes and sizes. New materi-als and even flat panel speakers that sound great.They’ll be used at sporting events, houses of wor-ship, even on cruise ships. We love cruise ships,we love anybody who hires lots of sound techni-cians.

Lollypop style mics were offered by manycompany’s including B.L.U.E. and AKG. But therewere lots of other type mics; Royer Ribbon,Neumann, Shure, Samson, Audio-technica,Sennheiser, Crown, Sabine, and even Oregon’s own,Audix.

Drums, Drums Drums, lots of drums (cymbal’s too ) . Ludwig, Mapex, Gretsch, Yamaha,Tama, Pearl, L.P., Brady, Arbiter, Peace, Sabian,Drum Workshop, Paiste, CB 700, Fibes, Noble &Cooley, Premier, Meinl, Orange County Drum,Zildjian, Pork Pie, Remo, and Sonor to again namejust a few.

Recording gear, this is what I love. I have amobile recording company. I record church groups,

choirs, pipe organ, rock bands, punk bands, blue-grass, klezmer, lecture series, meeting. Looking forbattery-powered devices consumed the vast ma-jority of my “looking at things” at NAMM time. Ifound the mobile I/O Way cool, mobile PA sys-tems ( Walker Labs ), H&F Technologies. I alsolooked at most of the DAW’s ( Digital Audio Work-

station ). I am a fan of ProtoolsÆ but Bias, acid,MOTU, and MANY others were well represented.I am still an Apple user, however Tom runs a PCwith an Intel processor, and records with “COOLEDIT PROÆ”, which will have a major upgradecoming out in the next few weeks, go to http://WWW.SYNTRILLIUM.COM to check it out. So Iwas checking out both formats. (Sorry Dave noAtari) As always, plug-ins are the draw in the MIDIghetto. Arboretum’s ray gun is what I use inProtoolsÆ, however 69th street recording usesCreamware , and it works great. I wish I could havegotten a copy of Metric Halo spectraFoo and Chan-nel Strip to test, oh well, maybe soon. DigidesignProToolsÆ iHD was shown, and it only makes me

want it all.Star watch: OK here is a partial list of musi-

cians wandering through the aisles and glad-hand-ing in the booths; Johnny Ramone, Alan White,Chris Squire, Korn, Dave Weckl, Zoro and the LAall-stars (featuring original members ofEarth,Wind, and Fire ) and Joey Heredia and Steve

Ferrone, Ed Thigpen, Ricky Lawson, John Moffitt, Alan Holdsworth, Steve Vai, Gena Schock, Car-mine Appice, Tony Lavin, Jon “ Bermuda”Schwartz, Living Colour, Joe Satriani, Tommy Lee,Greg Bissonette, Misfits, Strained, T M Stevens,Vinnie Colaiuta, Harvy Mason, Stuart Hamm ,Slim Jim Phantom , Gibly Clark, Tom Grant, Slash,Dime bag Darrel, George Lynch, Andy West, Beerfor Dolphins, Limp Bizkit, Alien Ant Farm, SugarRay, Sevendust, Chicago. I will need at least a pageor two just to keep up this list, suffice it to say, WAYCOOL !

Oh yeah, booth babes, lots of eye candy.What’s with all those tattoos and body parts thathave been pierced?

NAMMContinued from page 4


LAST

MON

TH

THIS

MONT

H

4 1 RICHMOND FONTAINE / Advance CD .......................................... Winnemuca1 2 BLUE SKYS FOR BLACK HEARTS / Demo CD ......... This Black Hearts Gonna Break3 2 GARMONBOZIA / Demo CD .......................................................... Tremolopsi!4 3 VARIOUS / A Bouncing Space CD .................... Lunch with a Bouncing Space• 3 KING BLACK ACID / Lakeshore Records CD ..................Mothman Prophecies8 4 GARMONBOZIA / Diaphonic CD ..................... Omnibus and the Bakers Man5 4 JEFF TROTT / Demo CD ................................................... Dig Up the Astoturf7 5 WIPERS / Zeno CD ......................................................................3 CD Box Set8 6 SPIGOT / Cameltoad CD .......................................................... Bait and Switch6 7 THE TORTURE COOKIES / Recalcitrant CD ................. Progressive Disciplin6 8 QUARMIRE EXPEDITION / Demo CD ...................................................... Demo• 9 HOLYSONS/Pamlico Sounds CD ....................... Staying True to Ascetic Roots8 9 CAMERO HAIR / Outro CD ............................................................ Mirage Sale• 10 M. WARD/Future Farmers CD .................................................. End of Amnesia• 11 JACKASS WILLIE/Mule Barn CD ................................. I’ll Smash A Geese EP

13 11 JONAH / Demo CD ....................................................................... 2 song demo12 12 DIZZY ELMER / Demo CD ........................................................... 5 song demo• 13 NICKLE TWIN/Demo CD ........................................... Seven Wonderful Songs

4 1 RICHMOND FONTAINE / Advance CD ................................. Somewhere Near3 2 GARMONBOZIA / Demo CD ............................................. Theme Variatour #71 3 BLUE SKYS FOR BLACK HEARTS / Demo CD ........... Everythings Gonna Be Allright• 4 KING BLACK ACID / Lakeshore Records CD .............................. Rolling Under• 5 GARMONBOZIA / Diaphonic CD ............................................................... Reno

Wednesday, January 30 .............................. Jackass Willie (Live)Wednesday, February 6 ......................................................... TBAWednesday, February 13 ..... Richmond Fontaine (Live) (tentative)Wednesday, February 20 ...................................... M. Ward (Live)Wednesday, February 27 .......... King Black Acid (Live) (tentative)

Tom & I were invited to NAMM show as aguest of NARASÆ . The big NARASÆ shindig wasthe 9th annual GrammyÆ Producers Soundtable.

The panel consisted of Moderator Jack JosephPuig ( No Doubt, Five For Fighting), Roy ThomasBaker (Queen, Ozzy Osbourne), Alan Parsons (The Beatles, Pink Floyd’s “Dark Side of TheMoon”), Danny Saber ( U2, Madonna) TobyWright (Alice in Chains, Korn)

At the NARASÆ producers Soundtable we gotto hear some amazing mixes. Alan Parson playedus a classic, vintage, Quadraphonic mix of PinkFloyd’s “Dark Side of the Moon” he played Moon’shit song “Money”. He also told the audience thatthe female voice on Dark Side of the Moon wasClaire Taree and so far, Pink Floyd has turneddown all offers to do a 5.1 release ( DVD-A)

Producers Danny Saber and Toby Wrightbrought some truly great 5.1 mixes that they haddone. Just check out the list;

Danny played U2, Madonna, Seal, WillieNelson, Busta Rhymes, Marilyn Manson, DaveNavarro, David Bowie, Michael Hutchence, PublicEnemy, Ozzy Osbourne and The Rolling Stones aswell as the soundtracks to “I Still Know What YouDid Last Summer” and “Any Given Sunday”.

Toby Wright played mixes of Alice in Chains,Korn, Tantric, Sevendust, Taproot, Oysterhead,

Switched and Mushroom Head, and tell meif you want to sit in on this listening party?

Outstanding job gentlemen.Then we were treated to the very first listen-

ing party for Roy Thomas Baker’s new 5.1 remixof Queen’s Bohemian Rhapsody. Literally, it wasmixed to (5.1) from the original masters last weekin Holland, mastered yesterday and then played forus today. I felt chills run up and down my spineand the electricity buzzed through the entire room.

Alan Parsons, Danny Saber & Toby Wright gotup and walked around listening all over the room.You got to get up and check the mix from differentpoints to see if it holds up, leave the sweet spotfrom time to time to listen. They were as excited aswe were to hear the 5.1 re-mix, joining us in astanding ovation for Mr. Baker.

The best part of the whole event was beingable to talk with these folks, to ask them about thegear that they use, to chat with them about theirupcoming projects. To ask them where theythought the industry was heading, and how to takeadvantage of those changes. To be able to chat withthe pool of talent in that room was well worth thetrip to southern California.

If music is your chosen profession you shouldjoin NARAS.

Contact Steve Landsberg at On Site [email protected]

LL


The staff of Two Louieswould like to congratulate Bonnie Carterand the staff of Positively Entertainment

for Twenty-five Yearsof service to Oregon's music community.

Have a great Birthday PartyFebruary 17th

The Spare Room4830 NE 42nd & Alberta Ct.

starting at 4PMwith Norman Sylvester, Lily Wilde &

Jim Mesi


Photography & Graphic Design

503/282-1682www.buko.net

LL

Gee wiz, I was so exited when I got thecall to attend the Limp Bizkit guitarsearch audition recently held at

Clackamas Guitar Center, that I actually thoughtabout kissing off my highly lucrative and ego serv-ing journalism career to become the much idol-ized super pop meg-star being paid ludicrouslygiant stacks of concert focused exploitation booty.

But when I heard of the age restriction stat-ing that you must be between eighteen and thirty,I almost got mad enough to get up out of my wheelchair and shake my cane in a vigorous and angryfashion, but after picking my double chin up offof the floor I realized that I am much better offhanging out in the rose and music city taking cheapshots at defenseless young musicians, performingear tortures via the steel drum and just basicallygetting in everyone’s face if in any way possible,hey- we are what we are!

So anyway, as I took that last left turn off of82nd to make the CG scene I spotted several hun-dred well armed music warriors flocking aroundand about the Humvee’s and radio station bannersthat often show up at these events (sponsors), andas I got yet nearer and nearer I soon had to face thefact that they were not all there to beg for my au-tograph or attention CAN YOU BELIEVE IT? AF-TER ALL I’VE DONE? In fact most of them werethere to take their best shots at this rather coolmerger between publicity and community. I wasgraciously awarded a hard pass and from there setout to roam and chat in search of something in-teresting enough to keep my mind off of that ‘59Les Paul standard with the nickel pickups and thefactory dulled finish that was put way up out ofDenny’s reach and budget, and low and behold,

there in the midst of what appeared to be an allmale guitar review stood the “lone girl riff-mas-ter” I’ll call her Wendy Rocksalot because she es-caped without revealingher true identity. (ednote: Wendy’s real nameis Ashley Stuart)

While brandishing agreat red Gibson SG sheplucked a mean g-chordand gave me a pose thatspoke boldly of today’sundiluted female deter-mination in rock and popmusic. I had no time foran interview as she wasthen ushered into thesound proof booth espe-cially set up for this event.

On the door of theaudition booth was a signdemanding in no uncer-tain terms NO SOLO-ING! Which explainedwhy for two hours nomatter where I was in thestore everyone was re-hearsing that chunkyheavy distortion percussive chord thing thatsounds to me like the trap door under thehangman’s noose opening and closing.

Anyway I really enjoy checking out the nextgeneration of musicians, writers and singers as ourcity continues to crank out more and more im-pressive talent each year, and it takes continual fo-cus on young talent from everyone to make this

happen.My apologies to Greg and Stark Raving Mad

whose “rippen” September 9th Mt. Tabor TheaterShow knocked me off my skinny real-white butt.This high energy straight ahead rock and roll showcould easily tour nationally and score big in thebiz if they’re tenacious enough to snag the oppor-tunity. I meant to cover these cats in the OctoberTwo Louies but because of post attack chaos theydid not get the coverage they deserved.

I delegated myself to represent all other po-tentially successful Portland athletic musician typesthis past month! when the Olympic torch came totown I just couldn’t resist the urge to join in thecelebration. As the flame wound it’s way throughthe streets of Portland amongst loud cheers of un-rehearsed jubilation, a lone figure jumped out onto

the dark and rainypavement of Grandavenue. Once securein his position justnext to the runner,this bold yeth u m b l emusilympian heldstride and speedwell along with thesixty somethingyear old officialtorch bearer forabout a block without attracting anynegative energyfrom any one of theespecially aware andintimidating mo-torcycle police es-corts. It was onlywhen the warmth ofthe torch itself ig-nited this lone run-ners child-like en-

thusiasm to the degree that he felt compelled notto sing the national anthem nor the pledge of alle-giance but instead burst out with a loud and em-phatically out of key interpretation of Louie Louiethat this unrequested assistant was finally given thequick and efficient exit that he truly deserved.

But hey, we are what we are.


“WE LOVE BACHELOR PARTIES”

NE 122nd & Glisan.255-5039

Open Daily 7am - 2am

Featuring the most beautifuldancers in the Northwest

Come on by forCHAR BROILED STEAKS

BREAKFAST, LUNCH or DINNER

we haveOREGON LOTTERY GAMES TOO!!

Club CabosSE 18th & McLOUGHLIN

232-3799

&

MUSICIANS CLASSIFIEDSSTOP IN ANY PORTLAND MUSIC

LOCATION & FILL OUT THE FREE FORMFREE•Guitar player, plus vocals andblues harp, looking for 50s/60sband, working or forming.Weekly practice. Monthly gigs.Experienced and dependable.Pat, 503/636-7449.•High-energy lead vocalistseeks modern metal act. I've gotthe gear, look, and the attitude.Influences include Disturbed,Godsmack, and Drowning Pool.Call Tracy at 503-720-9469.•Local original rock bandlooking for a bass player. Wehave great material and aregetting ready to gig. Interested?Call Jay at 503-574-2591.•Electric violinist and drummerseek male tenor lead and bassist/harmony vocalist. All oroginals.Influences: Sting; U2; DaveMatthews; Peter Gabriel. CallBrian (503) 293-2390.•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 for establishedrock band. Show ready.Influences Judas Priest, AC/DC,Iron Maiden. We have showspending. Call: Dan 503/231-0363or Larry 360/253-8953.•Kerosene Dream seeks bassplayer for recording and liveschedule. Harmony vocal

ability a plus. Call Dave 9AM-9PM 503/281-5741•Percussionist Available lookingto join working band. Congas,Timbales, Bongos and a ton ofhand held percussion items.Allman Brothers to East Bay Funk,TOP, Cold Blood, War, Isley Bros,Sly, Motown, Worldbeat.Call:Keith 503/236-2722•Tribute Blues Show looking forKeyboard,Bass and harmonica.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. NoGirls. 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.


On The Cover: Daniel Riddle of King Black Acid.KBA is in the movie and all over the soundtrack ofRichard Gere’s new release “The Mothman Proph-ecies”. Riddle says the band is looking for a Eurorecord deal “like Dead Moon has, Fred Cole is mycareer idol.” (Photo: Buko)

Friday 8th Papa Soul, Kitchen

Redeemers

Saturday 9th Stephanie Schneiderman

Friday 15th System Wide

Saturday 16th Public Groovement,

Boom Crickets

Friday 22nd Moxy

Swamp Lotus

Saturday 23rd Higher Ground-Food

Bank Benefit

4811 SE Hawthorn 503-238-1646

• Established 1979 •TWO LOUIES PUBLISHING

Associate Publisher: Ford T. PearsonDeb McWilliams:TwoLouiesMagazine.com Art Director

Editor: Buck MungerGraphics & Photo Editor: Buko

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

Denny MellorRobin Rosemond • Stephanie Salvey

Photographers:David Ackerman • Buko • Gustavo Rapoport • Pat

SnyderPrinted by: Oregon Lithoprint

Two Louies Magazine2745 NE 34th • Portland, OR 97212

PHONE (503) 284-5931 • FAX (503) 335-3633Email addresses:

Editorial: [email protected] • Marketing:[email protected]

Layout: [email protected]© 2002 by Two Louies Magazine. May not be

reproduced in any form without the expressed writtenconsent of the publisher. Two Louies is available by

subscription. Send $35.00 for one year, postpaid.

TURN TABLESContinued from page 3

“Oh, oh, another drummer turns to thekeyboard.” Sighs Kurt.

The Two Louies drum booth has been homefor many of the world’s greatest players over theyears.

Bob “Crusher” Metke built the drum booth in’75. as part of the Tom Grant-Richard Burdell TriadProductions 16 track recording studio in thebasement here on 34th street. Upstairs were theinternational corporate Artist Relations offices ofGibson guitars, Pearl drums and Moog synthesizers.At the time Crusher was just in off the road playingdrums with Oregon’s most happening musical act,the Hudson Brothers, who were hot as flame afterheadlining a 5 week CBS summer replacementvariety series for the popular Sonny... Cher ComedyHour.

The Hudsons had grabbed Bob as soon as hearrived in Portland from California. Back inHollywood, Crusher was already a star, known forhis oversized drums and an album deal with Mercuryin the original Genesis.

In his last band before leaving LA Crusherplayed in Eddie James... The Pacific Ocean, the houseband at Gazzari’s and the hottest act on the SunsetStrip, fronted by the Hispanic Mick Jagger; EddieJames. Shortly thereafter Eddie James (Olmos) wentpachuko in Zoot Suit, won an Emmy for Miami Viceand was nominated for the Best Actor Oscar for hisown production, Stand And Deliver.

But in those days, Eddie rocked, and CrusherBob had every bit as much boom as Bonham.

Metke found a home in the Oregon musiccommunity. These days he kicks back in Milwaukiewith the wife and kids and Allegra drum kit in thebasement. He and several other sturgeon-sizedplayers are plotting the recording return of localmythic rock vocalist Jim Dunlap.

Jim Dunlap came to prominence in the 60’s asthe frontman for Gentleman Jim... The Horsemen,under 21 and sounding like a 65 year-old blues singerin a time when “Soul” was newly discovered andsightings were still very rare among the white folk.

In 1969, Dunlap went to Hollywood with agroup of Portland musicians to record an album onthe Imperial (Liberty) label. 19 year old guitarist JimMesi joined up and rode to Los Angeles on the backof Dunlap’s Vespa. The recording sessions wereexclusive events with prominent musical guests andobservers. At one such session John Entwistle of theWho named the band “Wrinkle”.

Fats Domino had been on Imperial and thelabel had a long history of rock hits but before thealbum could be released two members of the bandwere drafted for the Viet Nam war, and the label lostinterest.

The remaining members of Wrinkle andCrusher Bob Metke moved back to Portland.

“Dunlap’s kind of grown into his voice.” saysCrusher, who played in Wrinkle for years on the roadand still plays occasional beach gigs with Dunlap,guitarist Rick Galarneau, bassist Gary Welk, andguitarist Bob Freeman. “

Next step, the material“And I’d sure like to get Michael Parker

(original Wrinkle keyboardist) in for the sessions,”says Crusher. LL

Date post:	31-Mar-2020
Category:	Documents
Upload:	others
View:	3 times
Download:	0 times

2L feb 2002 - TwoLouiesMagazine.comon an amplified shopping cart with a guitar pickup and an...

Documents