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photo Ty Hitzmann

Volume 2 Number 1

Inner-Vu

Featuring Nick Moon

Noise Pollution

Profit Split Deals: A Recent Alternative...

MusicResource Guide

Music in the NorthWestmonthly

Discover the

possibilities.

Jazz, Blues

& NPR News

stream it live at www.kmhd.fm

KMHD Development-503 491-7271

1. Death Cab For Cutie “narrow Stairs”2. China Forbes “ ‘78”

3. Helio Sequence “Keep Your Eyes Ahead”4. Stephen malkmus “Real Emotional Trash”

5. She & Him “Volume One”6. Colin meloy ‘Colin meloy Sings Live!”

7. Everclear “Vegas years”8. Chris Walla “Field manual”9. Spoon “Ga Ga Ga Ga Ga”10. Weinland “La Lamentor”

11. Amelis ‘Long Lovely List of Repairs”12. Dimes “Silent Generation

13. Modest Mouse “We Were Dead Before Before The Ship..”14. Pierced Arrows ‘Straight To the Heart”

15. KINK’s “Light’s Out 10”16. Pink martini ‘Sympathique”

17. Nancy King “Live At jazz Standard”18. Pink Martini “Hang On Little Tomato”

19. Shaky Hands “Shaky Hands”20. Thermals “Live At The Echoplex”

Contents

• Established 2007 •by Buko Publishing

Fearless Leader / Graphics: BukoCFO: Jeannine DawsonMedia: Get Up Media

Photos: Buko • Jeanne Galarneau • Ty Hitzemann • Writers: S.P. Clarke • Bart Day

• Jeanne Galarneau • Johnny Martin • Ty Hitzemann •Keith Robert Laurent • Mike D. Light • Ximena Quiroz

Printed by: Oregon LithoprintBuko Magazine LLC

PO Box 13480 • Portland, OR 97213Buko Magazine is available by subscription.

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Business inquiries; [email protected]. Advertising rates furnished upon re-quest contact; [email protected]. All advertising is subject to approval before acceptance. Buko Magazine reserves the right to refuse any ad for any reason whatsoever. Buko Magazine assumes no responsibility for claims made by adver-tisers. Article and photographic submissions; [email protected]. All views expressed in all articles are those of the authors and are not necessarily those of Buko Magazine. All letters, pictures, bios and their content sent to Buko Maga-zine become the sole property of Buko Magazine and may be used and published by Buko Magazine without obligation and liability to the author thereof. ©2008 Buko Magazine LLC. Any reproduction in whole or in part without express writ-ten consent of the publisher is prohibited.

June 2008

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2 - Buko magazine Vol.2 No.1 Buko magazine Vol.2 No.1 - 3

Top selling 20 Portland Artists for May 2008

“Profit Split Deals”: A Recent Alternative to the Traditional Record Deal

by Bart Day

My TyPod CD reviews

by Ty Hitzmann

Ladies and Gentelmen The StrangeTones

by Ty Hitzmann

Music Resource Guide

Inner-Vu an interview with Nick MoonJohnny Martin looks inside the studio

The Good the Bad and the UglyCD and Live ReviewsBy SP Clarke

Buko’s EyefullGirls and GuitarsBy Buko

The Bandthe Misadventures of Noise PollutionBy Mike D. Light

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One of the recent changes in the music business, particularly in the past two or three years, is the rapidly increasing use of so-called “profit split” deals as an alternative to the traditional

type of record deal. This is particularly true in the case of indie label deals (as opposed to

major label deals). That is not to say that major labels aren’t doing “profit split” kinds of deals, but most often they are only done with very established artists.

With these profit split deals, which are basically a kind of joint venture,

the basic idea is that the net profits will be split (in most deals, 50-50) after all expenses are paid, whereas in the case of the traditional record deal, the artist is paid on a royalty basis, with the typical royalty in the range of 12 to 15% (of the retail price).

Profit split deals can be attractive to labels because the label doesn’t have to pay the artist anything (including, usually, mechanical royalties) until all costs have been recouped from record sales by the label. This is usually not the case with the traditional type of record deal.

Profit split deals can also be attractive to artists, but obviously for different reasons. For one thing, if record sales are quite substantial and the costs involved are reasonable in comparison, the artist may well come out significantly better on total sales with a profit split deal than the traditional record deal. Also, the idea of a 50-50 split of net profits seems inherently fairer and more comprehensible than the voodoo economics of the traditional record deal. Plus, some artists prefer the general feel of a profit split situation, which can feel more like a partnering arrangement and a more collaborative relationship with the label than is typically the case with the traditional artist-label relationship.

All of that having been said, there are some subtle financial issues under the surface with these profit split deals, and a result, it is not always easy to

determine in advance whether a profit split deal will in fact be more or less advantageous to a particular artist or label than a traditional record deal.

The Basic Financial Structure of Profit Split DealsUnder the terms of the typical profit split deal, the record company

advances all costs (overhead costs, recording, manufacturing and market-ing costs). The artist and the record company then share the net profits from record sales. To compute the net profits, the record company typically

deducts off the top all actual out-of-pocket costs incurred by the record company for recording, manufacturing, promotion, marketing, etc., plus often a so-called “overhead fee” of 10 to 15% of the gross record sales income. After the record company deducts all of those costs and fees from the gross record sales income, the label pays the artist a share of the profits in whatever proportions their contract says (usually 50-50).

Though this percentage is obviously much larger than the 12 to 15% royalty range mentioned above for traditional record deals, the artist in a profit split deal is only getting 50% of the income for records sold after all expenses are paid, whereas in the case of the traditional record deal, the artist starts getting the artist royalty after the record company recoups the recording costs (and certain other costs, typically) from artist royalties.

In short, comparing the economics of profit split deals to traditional record deals is confusing, and to a large extent, is like comparing “apples and oranges.” As discussed in more detail below, the only way to have a decent idea of which arrangement will likely be better financially is to crunch the numbers and do a certain amount of spreadsheet analysis based on projected sales levels and projected recording, marketing and promo-tion costs.

The “Territory”The typical profit split deal will either cover record sales worldwide, or if the artist

has significant negotiating clout, the profit split deal will apply to the sale of recordings in only certain territories (e.g., North America), in which case only the artist will have the right to make deals for other countries. Even then, though, the contract will some-times provide that the artist will have to pay the label a small percentage of the artist’s income from foreign deals.

The “Term”Sometimes the profit split deal is for just one record (i.e., a “one off”), or the

deal will be one initial record, with the record company having options to do a certain number of follow-up records.

From an artist’s point of view, it is crucial that the agreement contain clearly defined termination provisions in case the deal is unproductive or the label fails to perform its obligations. Therefore, the contract should specify what the artist’s rights will be if the record doesn’t get released, or if it goes out of print, or if the label ceases to have bona fide national distribution, or if the label defaults on certain other obligations, for example, if the label fails to spend the amount of money on marketing and promotion that the label had guaranteed in the contract that it would spend.

Cash AdvancesIn most cases, since a lot of profit split deals are done between newer artists and

very small labels, there often is no cash advance paid. However, there are certainly situations in which the artist has some negotiating clout and the label has sufficient

financing, and in those situations there are often cash advances.Ownership of MastersThe master recordings will be owned either by the artist and label jointly, or far

more commonly, by the record company alone. (Usually the ownership will continue for the full life of the copyrights of the masters, i.e., a very long time, and long after the parties are no longer actively working together.)

Miscellaneous Contract IssuesDespite the differences between profit split deals and traditional record deals, there

is a certain amount of overlap between such deals, because many of the same issues that need to be dealt with in a traditional record contract also need to be dealt with in a profit split agreement – for example, when will the artist be obligated to deliver masters to the label, what approval rights will the artist have, who will have the right to maintain the artist’s “Official Website,” and so on.

Song Ownership and Music Publishing IncomeUsually, with these kinds of deals the artist retains all ownership of his or her original

songs, as is also usually the case with traditional record deals (at least in modern times). But, there are a couple of wrinkles here with profit split deals, though.First of all, profit split deals often provide that the artist’s share of record sales

income will cover both the artist’s artist royalties AND songwriter royalties. This is dif-ferent from the traditional record deal situation, in which the artist/songwriter is entitled to receive mechanical royalties on all record sales on a regular basis once the record is released, and most often this is an important source of cash flow for the artist. But with profit split deals, if the artist is not entitled under the contract to receive mechanical royalties, as is often the case, the artist does not have the cash flow benefit of receiving mechanical royalties on a regular basis during the term of the deal.

Secondly, it is important to mention that often the initial contract proposal from the label will propose that the label will share in all music publishing income (for exam-ple, from airplay), and even, sometimes, the contract will provide for the label to share in merchandise and touring income as well. In most instances, though, by the end of contract negotiations the label will not be entitled to share in these kinds of income.

Marketing and Promotion IssuesDepending on the artist’s bargaining power, the artist may be able to obtain the

right to approve (or at least be consulted about) major marketing and promotion decisions, and to have the contract guarantee that the label will spend up to a certain specified amount of money each year for marketing and promotion.

In many such agreements, if the label fails to make the guaranteed “spends,” the artist will either be entitled to terminate the agreement and/or the label will at least not be entitled to exercise any options for follow-up records.

AccountingsUsually the agreement requires the label to regularly provide (usually semi-

annually) an itemized accounting for all income received from record sales and for all expenses incurred.

Advantages and Disadvantages for ArtistsThere are several potential advantages and disadvantages for artists with these

kinds of deals. In terms of advantages, as mentioned above, there are situations in which, if sales

are very substantial, the artist will receive a much larger share of total record sales income with a profit split kind of deal than with a traditional record deal.

It is often hard to scientifically determine which is the best option, because it is often difficult to predict what the actual record sales income and expenses will add up to.

The only way to really analyze a situation like this very carefully is to spreadsheet it, based on a range of projections about what the total expenses will be and what the sales levels will be. As in any kind of contract situation, it is crucial to “crunch the numbers.”

In terms of possible disadvantages, one real disadvantage is if the artist is not entitled to receive regular mechanical royalty payments during the course of the deal, as is often the case. With these profit split kinds of deals, usually the label is spending money faster than it comes in, and so it may take quite awhile (if ever) before there is any net profit for the artist to get a share of.

And in a situation in which there ends up never being any net profit from record sales, the artist will be getting zero money from the deal, whereas, in the case of the traditional record deal, the artist would at least have received mechanical royalties (assuming, of course, that the artist has his or her own songs on the record).

Another potential disadvantage is that it is more difficult and cumbersome to do a royalty audit with profit split deals than it is with traditional record deals. That is

by Bart Day Entertainment Attorney


“The idea of a 50-50 split of net profits seems inherently fairer and more comprehensible than the voodoo economics of the traditional record deal. Plus, some artists prefer the general feel of a profit split situation, which can feel more like a partnering arrangement and a more collaborative relationship with the label.”

“In a situation in which there ends up never being any net profit from record sales, the artist will be getting zero money from the deal, whereas, in the case of the traditional record deal, the artist would at least have received mechanical royalties (assuming, of course, that the artist has his or her own songs on the record).”

because, in the case of profit split deals, the only way that an artist can know whether he or she was paid the proper amount if by verifying all income and all expenses that the label incurred. On the other hand, in the case of the traditional record deal, the artist only needs to verify the income received and certain kinds of expenses, but not all expenses.

That is not to say the a traditional royalty audit is a piece of cake, but instead, that the profit split kind of audit is even more cumbersome, expensive, and complicated than a traditional record deal audit. And even a traditional record deal audit, particularly in the case of major label deals, can very easily result in audit costs in the $15,000-20,000 range, and in some instances much more.

In short, it is wise for the artist to have the contract provide strong audit rights, and preferably for the contract to provide that if the label’s accounting statements are off by a certain percentage, that the label will be responsible for reimbursing the artist for any audit costs incurred.

Advantages and Disadvantages for the LabelThe main disadvantage of profit split deals for labels is on the back end, that is, if

the records are successful and the costs relatively small in comparison. In that scenario, the deal will be less profitable for the label than would be the case with a traditional record deal.

ConclusionProfit split deals have become common only fairly recently, and as a result, there

are not yet any clear industry standards in terms of the exact terms of such deals. For this reason, there is still a lot of improvising done, in terms of exactly how any particular deal will be structured.

When considering the advisability of entering into a profit split deal, and par-ticularly when comparing a profit split deal offer from one label and a traditional deal offer from another label, it is obviously important to really think through carefully the various financial and logistical issues lurking under the surface.

Editor’s Note: Bart Day is a Portland-based entertainment attorney in private practice, and he is also the VP of Legal and Business Affairs for Media Creature Music, a Los Angeles music publisher and catalog administration company. In addition, he is also outside music counsel for Vivendi Universal Games, the computer games unit of Universal Studios. From 2000 to 12004, Bart served two terms as an elected member of the Governing Board of the Recording Academy, Pacific NW Chapter, presenter of the Grammy Awards.

Bart is the co-author of a chapter (“Contracts and Relationships Between Major Labels and Independent Labels”) for The Musician’s Business and Legal Guide, a book compiled by the Beverly Hills Bar Association and published internationally by Prentice-Hall Publishing (New York). He also recently co-authored Music Is Your Business: The Musician’s FourFront Strategy for Success (Forefront Press), published in late 2007.

The reader is cautioned to seek the advice of the reader’s own attorney concerning the

applicability of the general principles discussed above to the reader’s own activities.


Let’s start with Steve Murray before we get to Nick. Steve is a highly engaging, truly knowledgeable lover of music and recording, and Studio Manager of Tone Proper Mastering.

He hosts the number one show on KMHD radio each Friday night from 6 til 9pm called River City Juke Joint. It’s a live feed program and a true example of Steve being a lover and supporter of local live music.

He feels that this city is lacking the critical sup-port of a mastering facility designed to meet the highest possible standards of the industry, and that by locating 20 minutes from downtown, he and Nick were able to invest their capital on some of the finest outboard gear you’ll ever need to see. Names like Weiss, Fearn, Manley, GML, it’s all here and built to spec. You might consider mastering here, re-mastering here, and by all means mixing here on the Bowers and Wilkins moni-tors to really hear what’s on your tracks.

These monitors have extraordinary range, clar-ity, and accuracy. Particularly in the low-end, a very critical area. Steve invites you to contact Tone Proper and arrange a visit, and encourages other engineers to consider raising their game in this high-end, affordable facility. As Steve puts it: “We’re here to serve the com-munity- this town deserves it!”

Now to Nick. Young, confident, polite and experienced. His name is dropped quite often

in recording circles these days. Check out the latest releases form Anne Weiss and Alan Jones and you’ll dig why. I got to hang with him last January…

So the name of your place is…?Well there’s two companies really. There’s Nick Moon Productions, which is me as an engineer, cause I still go out to places like Big Red, which is Billy Oskay’s studio. I do a lot of analog 24 tracking there. So the basis of that is Nick Moon Productions. And then this studio, Tone Proper Mastering which is within that blanket.So you work at various studios and you also work here at Tone Proper?This is my home base. But we can do mixing, recording and all that. I’m billing it as mastering because there’s no mastering houses to speak of in the greater Oregon area.That’s why most of the budget is for mastering, you’re talking $40-$50,000 for a pair of speakers with amplifier.So you’ve really gone all out.Yeah, because for mastering if you can’t hear what you’re doing , making those ½ db adjustments…you’re not doing so good.

You want to have that confidence in where you sit and what you sit with…Exactly. And a lot of the gear, like the George Massenburg Mastering gear is all custom built and all stepped.

Same with the Manley?The Manley is actually our mixer. It’s an all-tube, transformer-based mixer so it’s super hi-fi. A 16 track mixer, cause I do a lot of jazz, and that a great mixer for jazz cause it has good separation etc.It looks like you got your power fully conditioned?Yeah it’s voltage stabilized and fully balancedWe were looking at those Swedish overheads…Yeas they’re Milabs, actually a rectangular diaphragm capsule.So what pre would you normally use on mics like that?One of our purchases here is the api lunchbox, and we have one of the very few LaChappell tube ultra-high-end pre. And next to those are the Shadow Hills we use for kick and snare.Wow that really gets exotic doesn’t it?You can tell from the design and ambience that the studio is designed to be exotic for singers and songwriters etc. We’re not doing large bands so we don’t need 80 channels or something. We just need like eight channels of super high-end, out-of-this-world stuff. We have Doug Fearn, Millennia, Massenburg…Every part of the chain was well thought out.Yeah I spent a lot of time myself before I even got this place, talking with gear companies, because a lot of this had to be pre-

ordered like the Lavry Gold. You have to talk to these people. You don’t just call Sweetwater and say “send me one.” There is usually a wait time, like the Millennia. I had different tubes and transformers in stepped increments put in there, it was a three month build time. Now those are old 1176’s?No these are the company Purple Audio. They’re essentially 1176 on steroids, and we have a pair of them. They’re just huge, 20db of massive compression.Now where are you from?I grew up in Indiana, South Bend. Notre Dame all the way. I grew up there then I went to Full Sail and learned how to be an engineer.You’re a Full Sail grad?Yes. Then I got hired in Chicago, at one of the big studios- Studio Chicago. Also CRC and Chicago Tracks, I was a second engineer at all those places. Smashing Pumpkins was there, and I learned a ton. Then I went to Texas and worked with Deep Blue Something, remember “Breakfast at Tiffany’s”. Then I got into jazz out there because University of North Texas. I was there for a week and ended up staying there for like a year and a half, doing one jazz session after another. That’s where I really got into engineering and miking. I mean you learn that stuff recording rock bands etc

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Yes but people put more importance on the naturalness of a jazz recordingEspecially mixing. Every studio I ever worked at had an SSL, so I was really big into SSL’s and really understood them. So in Texas, since I was a staff guy there, I could really get my chops and really mix. Over there I’d stay up all night, learning how to mixand study what other engineers were doing, looking how they were eq’ing and that was everything.What do you like to mix-down to?Well, half-inch is what I love, and if I could get twenty grand wrapped up I could get me a half-inch machine.Couldn’t we all!But right now, my main mixing signal path is thru the Manley, thru any buss and eq compression I want to do, and into the Lavry Gold with tape saturation. The Lavry Gold has, like “the real deal” saturation. It’s a $10,000 A/D converter so I mean, it’s awesome!Is that a tube or a simulated saturation?No tube. It’s a computer in there, and that’s all it does. It’s one of the only convert-ers that you can slam it in the red all day and it just sounds like tape, it sounds very good.So that’s your last stage?Yeah that’s the A/D side then once it’s in the computer I use Sonic Solutions mastering program.When you’re tracking you’re in Pro Tools?Yes ProTools and DP. DP is very cool but not as stable and efficient in the audio world.Do you have time to experiment ?The room was really designed to be an all-in-one thing, but we’re promoting the mastering because people are sending their stuff off to people they don’t know and spending a ton of money. At least here they can have an espresso or a coke and hang out with me. That’s way more hip, cause I have the some stuff they’re using, Sonic Solutions etc. It’s cheaper and local and you’re getting it right. As far as mixing and recording goes, why not integrate. What better place to track a vocal than a mastering studio?Tuned, quiet room…Exactly, but the main thing is we have a conservatory grand piano, we have a great drum set, we have a vocal booth, great mics etc.So is there a mastering rate that’s different than the tracking rate?Yes they’re on the website. Basic mastering is going to run about $95 hr. Which I think is close to what other places in town are charging. And recording and mixing is about $65 hr.What type of music have you yet to record? I don’t know- that’s a tough one! I do everything from like, world music to all kinds

of stuff. I think punk is the one thing I haven’t really got into yet. But when I was in Texas, besides doing jazz there was like a big metal scene there. And that was hard to do too with all the guitars and layering.Do you have a current favorite preamp? Something you’re kinda knocked out with?Well I’m really stoked about the LaChapell’s cause you just kinda set-it-and-forget-it. It’s pretty hip and the Shadow Hills too, but I’m real big Millennia fan because I do jazz.A single channel Millennia like the Origin?The Origins are great, we have a pair of those. I’m a big fan of True Systems. That stereo True P2 for the money is one of the greatest.Fairly affordable, clean sounding?$1300 - $1400 something like that and it’s got mid-side decoding in it and every-thing- it’s very hip. I always tend to lean towards really clean signal path, cause I know I can “screw it up” when I mix if I wanted to. So I don’t compress to tape much cause I just know myself. It might be cool today but it’s not gonna be cool in a week when I mix it.So you’re more for the natural capture?Yeah, that’s because I was in jazz.That’s a great basis to have. So are you a guy that would use a roll-off on the mic or…No I would do it later because even when you’re using multiple patterns, you’re going thru another set of electronics, the whole point is to minimize that stuff. That’s why my patchbay is fully balanced point-to-point XLR. You’re just going for a short signal pathYes , and staying balanced the whole way.Well that’s good advice for young engineers, don’t use the switching it’s just more circuitry…Well and especially if you’re doing it on a budget with not really good gear , that really adds up when you unbalance it. You’re opening up a can of worms. Fix it with the mic and placement.What do you like for overheads?We auditioned the original KM84i’s the nickel ones, and they’re great- just more top end and wide.They’re quick thoughYeah they’re super quick, which is what I like. I understand that people don’t have the money to have four sets of stereo mics that they could just try. But you’d be amazed that with a pair of headphones on you can EQ the mic’s just by moving them an inch. If they’re out of phase just go out there and nudge them. I see a lot of engineers just put it up and walk away, well, did you listen to it? I’m constantly nudging and pushing and moving and all that stuff.And you’re by yourself. Are you saying you have headphones on in the room?Yeah, I’ll pop on the headphones, with my in-ears or something like that. Same thing with guitar amps, by moving a 57 like 2 centimeters you suddenly have top-end.

Move it another 2 centimeters, now you have no top end. Don’t reach for EQ! Even a good eq will degrade the sound.What do you monitor on?For mastering it’s the Bowers and Wilkins. Kelvar midrange and dual Genelec subs. The amplifier for them pulls 50 amps!Are you a guy that likes to get any microphone through a tube?No, not at all. Because I think most people fail to realize, and I think a lot of techs will agree with me, tubes don’t make nearly the difference that transformers do. Transformers are where the sound is- not tubes. Tubes do affect when you get into the top +20db, then you start getting into the tube. But when you’re down here in the meat where you are most of the time, it ain’t doin’ anything! That’s why those Shadow Hills are killer, cause it’s all about the metal in it. Nickel, steel, iron. How it’s wound. Some of those great Neve’s sound good cause that have that perfect golden ratio of like 10% nickel, 14% iron, 20% steel, that kinda stuff. That’s what makes those Shadow Hills cool, you go between the steel transformer and the nickel transformer- you’ve got 2 different sounds- just by changing the transformer.So it lives up to what it says?Exactly. Like the Manley stuff is known for having transformers that have really great top end and really clear and clean. The reason why the Neve’s are cool is because they have big iron. When you pick up a mic pre and it weighs a pound? There’s no iron in it- don’t use it! Forget it. Not to sound like that, but it’s all about metal. That’s what’s making the sound, that big iron transformer.So, I see Vintech over there. Do you think they pulled off that whole “Neve- thing” with the metal ratio?We’re doing drums with Reinhardt (Melz). We’re doing snares and stuff like that, and the Shadow Hills won out, not by like two miles ya know. The Vintech’s were quite good- I think for the money they’re a pretty good mic pre. I think I’d still rather have an API or Shadow Hills…For toms and snares and things like that?Yeah for toms and guitars. You can really overload the input and lower the output and get a good sound like that. We have four of those Vintech’s and they’re kinda like a go-to workhorse everyday pre.You have some killer mics.I have a sound deluxe 49. I’m a huge fan of the 49. I just bought the Korby system.It’s killer, I bought the 251 and the Sony C800G. I just did vocals with Liv Warfield last night and we used that – it was just crushing!Did you ever check out Wunder?Yeah I actually had a pair of their 47GT’s on order and they told me it was going to be four months. I said like, “you know what? I don’t want them. Just send me something.” So they sent me, the Korbys with all the capsules, the 251, the C12, the 47, to demo.I had only enough budget to buy two. So we put them all up and we put everything into them. We ended up picking the 251 which was awesome and the Sony C800G which is the R&B, pop vocal king.Are there a few engineers you hold in esteem?Yeah you know, Dave Friedlander is good friend of mine. We always joke about “settling it on the mountain” because I ski and he snowboards. I’ve mixed a lot of records that he’s done and vice-versa, eg. Echo Helstrom, Patrick Lamb, K4 etc.What about the bigger Pond? Guys you’ve been knocked out with for years…Well, the guy who did the Fiona Apple “When the Pawn” (Rich Costey), crushing, just crushing. And then Lord-Alge is the pinnacle of the LA, SSL sound. The guy who did the Paul Simon records. Current or older?

Older stuff. . They were not doing what everyone else was doing. They were experi-menting and putting mics in places…I mean listen to that on vinyl and it’s out of this world. Like Graceland, listen to Graceland.So the engineer on Graceland? (Roy Halee)Oh yeah- that stuff is good!Name two pieces of gear that you have your eye on.Let’s see…It looks like you have everything you need! (laughter)I’ve got quite a bit. I guess one of the things I’d like to do is try the Doug Fearn mic pre, which I haven’t.The vacuum tube?Yeah they’re like all point-to-point, and their compressor is totally sick. I emailed the company about a little fan in there, and Doug wrote me a two page email back talking about wiring and that to “send it in, we’ll pay for it, we’ll take care of it” and

you don’t get that from a lot of companies.Can you recommend any websites for info and reviews for young engineers? Is there a place you go to double-check things?I read Gearslutz all the time. One of the guys I like as far as engineers and can master is Bob Katz. You can send him a message right now.Yeah he’s on there posting…He’s on there all the time. I talked to Bob about buying the Weiss. That’s is the mother-load. And it has the Bob Katz “K-stereo” imaging option in it. He developed this thing called “K-stereo” and essentially, you know a lot of home recording stuff doesn’t have that depth and width that higher end recordings do, you just turn on K-stereo and “pboof ” it’s KILLING! It’s like this very underground mastering thing and- it’s crushing! It’s one of those secret weapons that make you go “man it sounds like three dimensional” and I’m like “oh yeah great-it’s my eq.”The Tape-Op message board is killer. I belong to the northwest studio owners group which is a yahoo group, mainly a lot of the Seattle studios.What’s you’re oldest piece of gear?I bought that Soundelux 49 when it first came out and I’ve never looked back.I’ve had that mic for maybe 5 years or so.And that’s your oldest piece too?I honestly go through gear. I get tired of stuff and sell it. I just Ebay it, usually I’ll have a client say: “…if you ever get rid of that mic let me know…”Is there a mic that you reach for quite often?Yeah that Brauner is pretty killer. The Phantom non-tube version. I’d say the Brauner and the Soundelux 49 I use a lot. And the Korby 251 is really great.So you tend to buy & then sell as opposed to borrow?Yeah, but some of the stuff like the 49- I couldn’t imagine ever getting rid of that. Some of the stuff that’s classic like a Neumann…Like a U67 or something?That stuff you just never get rid of , though you could make good money on it.How young were you when you started recording?I played drums for a long time, and I was in bands all through grade school and high school. We started going into the studio I was always the youngest guy. All the rest

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of the guys were in college, and I was a senior in high school. I was actually having more fun hanging with the engineer than I was playing drums. Then I started getting into running sound for our shows, and recording our concerts. We played all the colleges like IU and Purdue. then as I was getting ready to graduate high school the rest of the guys were ready to tour and I said “I’m done” and went into Full Sail.So that made you want to be an engineer?I was huge into music and always had my headphones on listening to recordings and really dug it. My grade school & my high school had little midi labs set up and I would go in there and make beats and stuff and screwing around- I was really into it.It’s easy to spend your whole life doing this…Totally.As long as you can say ‘This is what I’m going to do my whole life’ and just accept it right?Right. There has been many occasions when I said “why am I doing this? I’m broke and there’s no money in it…” Only in the last three or four years has it really been like “ ok I can kinda see how I could start making some money at it”, but when you drop this much money into it, it’s a big risk. So it may work it may not, but I figure it’s worth it for me trying it now. Because you’re young…Yeah, if Portland isn’t into it and it doesn’t work out then it doesn’t work out. But without even advertising yet I’m booked solid. People coming in from San Francisco and all these places to do mastering and mixing.Do you have a basic drum miking set-up? Are you a minimalist?I think the fewer mics the better. I did a session with just three mics and it was so huge! Really great overheads with really great compression on them and a kick, and you can just blow people’s doors off!Did you do that with 1” diaphragm mics or small?The Milab square diaphragm mics.Do you have any favorite recordings?I think the Fiona Apple “When the Pawn” is a really great recording. Nothing lately like the last U2 record is just awful. The only bands that have consistently awesome recordings I think are Radiohead, Coldplay, Chili peppers, and Counting Crows.Those guys really do get it. They understand what it takes, cause you know what? Take a look at their CD sales, I don’t care what anyone says- I think people do hear a difference.Well, their records SOUND good…And people are buying them. And the whole home studio revolution is great and I think it’s good for the industry, but there can’t be a dying out completely of the big studios because it’s still proven that a good record is a good record.It’ll be good twenty years from now…Exactly.Are there any CDs you use for comparative listening? To check your bass etc…Yeah. One of the big ones is Ten Cent Wings ( Jonatha Brooke) it’s a Bob Clearmoun-tain- and anything Bob Clearmountain is what I use to check. Anyway Ten Cent Wings as a record I listen to a lot.For everything? Yeah, because you’re listening to frequencies and balances. “Is my bass too flubby down there?” I just pop in the finished record and you can really hear the difference. On my Grace monitor section I can just go “A/B” and I can calibrate the ins and outs so that mine is the exact same level as there’s. I can just go “bang bang” and when you do that quick snapshot- it’s apparent. After a few seconds your brain forgets. I also use really great spectrum analyzers so you can see frequencies if you can’t hear them to get started.

That’s a big thing about monitors, and something I wanted to say: People need to spend their money on monitors. If your speakers don’t go down to 80hz and you’re eq’ing a bass drum…You’re already in trouble…That’s why when people go to their car stereos it sounds like crap.With Clearmountain, he’s probably a master at masking, so things are very clear- no pun intended…Yeah and that’s what I strive for as an engineer and I think that’s what I bring to the table, is not compressing everything. I’m huge into the x-axis. Getting out here is fairly straight forward, but getting this distance…This guy five feet from you, this guy seven feet from you…Exactly. And that’s where being a good engineer is important but a lot of it is gear. I remember Clearmountain saying 50% or more of it is gear. If you don’t have the right gear you can fight all you want, you can wrestle it to the ground, if you’re mixing on a Mackie it ain’t gonna’ sound right.You’re saying mixing “it’s gear” but tracking is more mic placement etcYeah. If you have one good mic pre you can’t use it on everything. Then you get that same EQ curve that’s applied to that mic pre is applied to everything and after ten instruments…Ha! You get this nice bump at 4k ahhhh!You can’t mix it it’s impossible! So that’s where having a variety, a couple tube things, a couple big transformer things, solid-state things. Guys like Hamptone are making great mic pres very inexpensive.He’s local right? I’ve never used his stuff have you?Yeah. They’re very industrial looking. I think you build them as a kit.What’s you’re current back-up system?If you look in my machine room, I’m a LaCie dealer. I buy so many hard drives I said “what’s it take to become a dealer?” I just filled out the paperwork and faxed it in and next thing you know “hey! I’m getting them at cost.”Good for you!So I make it mandatory for any project that comes in here to buy a hard drive. I’m not making any money on it, I’m doing it because you gotta do it.Well they walk away with it too right. Doesn’t that keep your housekeeping a lot nicer?Yeah. I still have several terabytes of hard drives that have a lot of stuff on them.What I do is when you buy a LaCie I buy two, Right? You almost have to right?Sure. In my quad I have a couple internal serial ATA drives that are like record drives, and then record drives go to the back-up system. We’ve had good luck with these drives.And LaCie’s in Hillsboro right?Yes. They get here in like a day.Is there a preferred EQ you use a lot or try not to use EQ?No. I’m a big fan of it cause a lot of things do need it. After proper mic selection, place-ment and mic pre selection, you know, it depends on the situation. Like the Summit’s. I have 3 sets of Summit’s I love ‘em. The EQ200B’s. They’re Pultec style. I mean they’re super broad, they have like four frequencies to choose from, and you have boost and cut and that’s it. If you’re boosting 8k on it, it’s going down to 1k.But sometimes you just need a broad stroke. So if I’m doing drums or something I wouldn’t use the Summit’s I’d use the Vintech Neve-style stuff, it’s usually a bit better. A bit more forward.EQ right in the mic pre?Yeah. Then for surgical stuff the Millennia can be surgical and the Prism is extremely surgical.

The Summit EQ200B, there’s a tube in there?Yeah, like eight of them in there. It’s a Pultec style.What’s your approach to compression on drums?Things like kick and snare or overheads where you know there’s a chance even with a good drummer things can get out of hand fairly quick. So just apply a 2:1 over all slow attack and fast release kinda thing.Would that be limiting where you’re just protecting your tracks?Yeah, pretty much. I’m a huge fan of multi-stage compression on drums, like on the SSL. You have like eight mics for your drums you have your mix going, I apply that same mix to my sends. So essentially your main faders are going out with whatever compression you want and then I send those mics to a stereo bus and compress the snot out of it. Like a pair of 1176’s on crush, and that’s my verse. Cause when you’re bangin’ it’s unusable, so you’re using the bigger stuff for choruses etc. And for vocal I have one that’s 2:1 like the Fearn Compressor, and then like the GML dynamics processor which nothing gets by at like 70/30 or 60/40, or the Purple- I’ll just squash the crap out of it! I’ll just put that underneath and you’ll find that even the loudest section you’ll hear every breath and everything.And you’ll find that on a computer speaker your cymbals are there…Oh yeah. Though I’m not a fan of compression. Like the Turn-Me-Up Organiza-tion, I’ve submitted Tone Proper to Turn-Me-Up. They’re all about trying to bring dynamics back to music!Oh cool- like the “Loudness Wars” and all that?With their company you get a stamp that states this is a record that’s not super com-pressed, and has good dynamics, then you can go to turnmeup.org and look at a list of studios that are sanctioned by turn me up, and are not going to ruin your mixes.So there is headroom on all their stuff ?Yeah headroom is a great thing.Do you do much ambient miking and if so what do you like for mics?Man it’s not so much the mics, it’s what you put in front of the mics. I’m a big fan of- if you’re looking at the drum set, I’ll get a big wood door or a sheet of 4X8 birch and I’ll put the mics facing the piece of wood and that’s what gives you the slap. And that’s what gives you the sense of dimension. It’s all about pre-delay and early reflec-tion, that’s where it’s at. I’ll do it with a pane of glass too. You’re like an inch away with the mic. It makes your room sound twice the size. I did it at Randy Porter’s in his drum room there.Is it free standing?Just prop it up against a wall. I’ve seen guys tape mics right to the floor. Regarding guitar amps, they don’t need to be THAT close-mic’d. I think that that’s why I think people dig ribbons without them really knowing it, because you’re getting a figure of eight with the ambient and negative space behind it, that you don’t get with a 57 up close. I’ll put a close mic right up on there and put a condenser 3ft back and blend them.Regarding ambient, some rooms aren’t perfect- are you a corner of the room guy up high…?Well look at the drums we have in here now, those Milabs are only about 22” above the cymbals.They are pretty close, but my room is small. If I was to put the overheads where I would at Billy’s studio (bigredstudio.com) I’d have too much of this small room sound, even though I have those diffusers in there. This way I can run them thru like AltiVerb and make them sound bigger.Those mics must handle a high SPL because you’re essentially close-miking cymbals, which takes some experience…Most mics today can handle it, You’re still getting a lot of bouncing around and room sound. You’re getting toms, tons of snare, it doesn’t sound like you’re 22” off the cymbals.

They’re cardioid, what about omnis?Oh man, spaced for drums is killer! A pair of omnis in a 3 meter spread, like the 414’s, facing the drums. Maybe 4ft on this side- four feet on that side. I do that at Supernatural in their big room. They have a pair of Soundelux 99’s and I put them thru the Neve’s and 1176’s, crush them to death…Is that head high looking at the kit?Exactly. With omni you need that space to get good stereo perspective because they’re picking up everything. You put the real kit in the middle and the omnis way off to the side. You need to get the overheads correct and understand X/Y and OTRF and other ways of doing good stereo.Regarding mixing, how do you approach a mix? Are you a “build the drums” bottom-up guy?Depends. If I’m a hired guy and they know what they’re looking for, I have them send me something they dig, then I get an idea. Once I have an idea then I start with rhythm section, building a drum sound, and essentially everything builds on that. If it was a vocal record would you spend a lot of time first on the voice?Well I think I would spend a lot of time on that anyway. I really think that drums are the one thing that people can’t record. Like piano- same thing. If the drums are rock-ing people feel it. When you hear a bad record, the first thing you think of, “crappy drums” so if you’ve got totally killing drums, then even if your vocals are mediocre… I guess it comes down to, if you can get a drum sound that good, vocals should be no problem.Do you have any favorite plug-ins?I’ve been against plug-ins for a long time, but the SoundToys stuff like Echoboy? Holy crap! and AltiVerb which is the room modeling system. But Echoboy on lead guitar- it’s got like studio tape delay, analog delay, all these and reverse and look forward delays. On vocals I’ve never had a better slap delay. I used run the vocal to a ½”, through a bunch of compression, and record it back into protocols and offset it like a 1/16 or something like that. It sounded great but it was a lot of work.What signs tell you that you’ve been mixing too long?Um, I start adding 16k to everything! (laughter)I’m a morning person so I get up at 6am and go skiing, and I get about noon and by six o’clock I’m kinda rocked. I don’t do the late night mixing thing. Your ears are better in the morning.How do you like to take your breaks?I take a lot of breaks. I like to leave my phone on. When you get too into it you lose focus. Every few hours at least. Any mixes you’d like to have back?A lot of them. You could mix the same record once a year for ten years and it would be different every time. I went to Full Sail right out of high school and my mixes were more aggressive, everything close-mic’d and panned perfectly etc. So you’re more analytical now?I would say most of my clients would say that I’m pretty anal about stuff. I like to really get things right. There have been projects where I took mixing too seriously. You can get too attached to a record and it can get crazy. I work at music everyday. In the last 10 years I’ve been in the studio most days out of the week, and that’s where I got my practice. The one thing that makes a good studio a good studio, and a good engineer a good engineer is people skills.Any advice for young engineers?It really comes down to the type of person they are. If you’re not willing to put in hours and build your craft, you shouldn’t be charging for your services. www.toneproper.comwww.nickmoon.com666

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The B-52’s meets the Stones meets Jimmy Reed meets Link Wray meets a really cool episode of

Get Smart. That’s my one liner to anyone I describe the StrangeTones to. They offer an inducing blend of soul- drenched blues, vintage rhythm, plenty of Rock-A-Billy(or should I say Crime-A-Billy). Bossa nova, country honk, and delta roots, delivered with some funk inspired overtones. Although they write most of the songs they perform, they undoubtably have a knack for choosing great covers they successfully launch with a unique style and enthusiasm that becomes all their own.

The StrangeTones seem to method their style out of a time-honored cookbook from where they draw out rich traditional sounds, but mixed with a bit of mystery. Ice-pick sharp licks, cool groove, and burning hot with a whole lotta soul. A secret ingredient of their sound lies in their invention of “Crime A-Billy.” Sewing genres together into a superb and crafty style is what sets these super-sonic songcrafters apart...Mix and match the codes, rehearse the moves, plan the attack, voila -- The perfect crime.

A lot of people consider them to be euphonious Robin Hoods, a musical Mod Squad who are sworn on a melodic crime-fighting mission against the ‘Man’ and avenge music out of an empty conundrum. The Tones’ will have no part of that, for they have come to ‘Serve and protect our ears.’ They successfully combine all the elements so you don’t have to. In the process, they successfully reinvent something continually lost, and a rarely found originality.

At best, I’m offering a meager description of a phenomenon that’s been running strong for 5 years, and the discovery is just beginning. The best is yet to come for this four legged pow-erhouse of stellar and dedicated musicians. Comprised of Guitar Julie, Bassist Andy Strange, guitar-ist Suburban Slim, and drummer J.D Huge.

When Andy met Julie at a Cascade Blues Association meeting years ago, they hit it off immediately, got married and began planning their dream group together and sought out to pick the right recruits to fit the bill. In planning what material they’d cover, the idea was to bring Andy’s long time friend and band mate Jeff Strawbridge (a.k.a. J.D. Huge) from The Impostors to play drums, who is a dedicated powerhouse of percussion, and like minded about the direction. Sometime later, they ran into guitar-ist Whit Draper who had just left Backporch blues and was noted for his excellent guitar attack, and cool and quirky style. He and Julie swapped leads and rhythms into an

excellent uniqueness out of a traditional ‘call and response’ style. Starting with roots based obscure covers, they soon had no trouble

coming up with some new and original tunes. From that came their stellar first effort “Stinkbomb (2002).” The CD was well received, and from this came some well attended shows with the word spreading that these cats (plus kitty) were coming from a direction that could reinvent the blues experience. Audiences were invigorated to hear this new rocking combo’s entirely unique sound, along with their exciting new take on the blues.

A couple years later, the sound was growing and propelling them forward into new ideas, Whit parted ways to seek other avenues. The group didn’t take long to decide on guitarist Suburban Slim who drummer J.D. had previously played next to in the Smokin’ Souls. The synthesis only added to the miracle. Slim brought some much needed mojo into the band. Not only could he burn a hole in the stratosphere with his axe leads, but also write well and play other instruments. This advantage could now afford Andy the ability to throw down some of his own slide guitar skills during live settings.

Rock solid chops, searing leads, and a tight rhythm section was now in place again, and operating with an even tougher style to push them further into a zone with a rare knack that few can tackle and hold. The ST’s also share an ability with artists like the Rolling Stones, Lyle Lovett, Patty Smith and Lucinda Williams who can easily take on almost any artist or genre and make it all their own, sometimes besting the original recording.

It seems like the last 20 years or so, we become bogged down by a sameness in the music world because there are so many artists covering so much ground so many times, it’s become a daunting task for any artist to be able to break the mould and come off original. Many are playing, but too few seem able to carry that ball across the court. The good news is that the ST’s are doing this on a continual basis and are distinctly standing apart from the ‘same ol’ same ol.’

From the first track on their debut album, “Comin’ after you” immediately indi-cated that they were intending to knock over the status-quo. And along with it, seven originals. Covers like “The Sneak”, and “Whatchya gonna’ Do?” seamlessly blend the original artists intentions but with an original flair. I remember being knocked over by the sound of two dueling guitars carving out a tone into territories not touched quite like that. Julie’s one of a kind belting voice was long overdo for this type of genre. The attrac-tion of the cd and its stellar songs afforded them venue space to practice live material to a now very interested audience. In short - They were kicking over the stus-quo.

The follow up Crime-A-Billy was released in 2004 with it quite a few more original tunes. As with Stinkbomb, no songs were filler. A powerhouse collection of grit, grime, and fiery licks delivered with a burn. A few covers, and a handfull of songs featuring their now signature moniker Crime-A-Billy sound. The title track, along with “Actual Man” and “Wanted” solidly drive it home. Suburban Slim’s “Burning Heart” is like a

hot poker being thrust into the heart of Maxwell Smart. The Avenger’s would’ve com-mitted crimes to have music like this for their show. “Sweet Spot”, “Pinto Squire”, and “Poster Child” are intense rockers, while their renditions of the Frantics “Whip”, and Ike Turner’s “I Idolize You” are arresting. And by now the ‘Tones were starting to attract big talents like Paul Delay, Curtis Salgado, and Jim Wallace who gladly lent themselves to fill out a few numbers.

The new release We’re On Our Way is reporting very well, and well it should. Delivering expertly crafted numbers with great song writing, and professionally recorded in their secret volcano recording studio Meteor Sonic Records. “Mama Makes More” is a nod to traditional blues, but played at full throttle with a Stones-like open G slant. “Fool Me” carries an Esquivelian, space age bachelor pad quality to it. “Hooky”, “That’s

How We Roll” and The title track complete the message that no StrangeTone cd will be devoid of that Crime-A-Billy sound. All three of the StrangeTones efforts have clearly shown true talent and professional hit-writing skill with superb packaging and original artwork.

But there is something more going on here. This band is taking most who see them live hostage. People can’t help but love them. Along with incredible talent, they are smart, friendly, and good looking. They love what they do, they love each other, and they treat all who come in contact with them as though they are part of their family. When you go out and see them( and you will), you’ll become so star struck that you might find yourself preparing a fight strategy to meet them. No need to bother. It’s almost for sure they’ll make their way around to you, The Fantastic Foursome. Warn-ing! their friendly demeanor is overshadowed by some of the meanest licks this well -heeled concert reporter has ever seen and heard.

This group does not walk the stage lightly. From the first opening chords, audi-ences and venue staff can’t ignore them; Oomp! Pow! Whap! It’s like James Bond and Muddy Waters walk in the bar arm in arm ordering 2 beers, a pitcher of kool aid, and two double dirty Martinis, shaken, and stirred. Seeing them live is an experience that blows audiences away with well rehearsed and choreographed stage shows, It’s no wonder the ST’s have racked up their numerous awards (listed on the sidebar).

They recently played at a small club where I asked Julie, ‘What are you gonna do with no stage and a 12 foot ceiling?’ She said, “We’ll find a way to work with it.” In the middle of the second set they jumped up on top of their amps and hop-scotched back

and forth on them, all while blistering us with “The Swangler.” The crowd went wild.Larger shows include the lovely and talented Vivian and Violet a.k.a. the “Volcano

Vixens.” Their self-styled choreography is an incredible addition of flavor to the act. Both girls are schooled dancers and expertly accent songs they perform on. When they twist and shimmy, shake rattle and roll, the crowds jump and cheer with delight.

While Julie inflicts her prowess, Andy parades around walking his signature Telecaster bass and making the stage throb. Slim visibly talks to his guitar as if he’s beg-ging it not to catch fire while sings and admits his sweet, hot desire for a chick called ‘Kathryn.’ J.D. pounds so hard at times, sweat flecks the wall behind him while the band physically bows down to worship his progress. Julie may tell you the cold hard truth

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“I would just say, I hope younger people just remember to go out and enjoy live music, cause it seems like there’s too many sitting at home...”

one minute, and then cradle you in her beautiful arms and plead with you to love her, and you will. Andy treads the stage nodding that every word is true, then tells his own stories of grooving around town “in an Astrovan that’s brown and tan”, delivering punch lines through a cop -megaphone he keeps nearby .

Burning leads in tandem, in unison, in opposition. Whether it’s live, in the studio, or in the can, doesn’t matter. The StrangeTones are the real deal, the complete package.

With it all, the StrangeTones’ keep a bigger foot planted in the blues. It is the seed that grew this juicy bean stalk up beyond the N.W. cloud cover. Portland has always contained a relevant blues scene with tons of local talent, and the Portland Waterfront Blues Festival being a major west coast attraction with its historical lineups every year. Yet it has unfortunately watched most venues cede to hip-hop, dance and martini-shiek bars over the last few years, leaving artists who live and love to play here scratching their heads. The ST’s are successfully jumping this hurdle while paving the way for a comeback of blues based clubs. They have been showing audiences that the blues prevails once again by showing solid relationships and a connectivity to all other genres, since it is the foundation of all music.

Delivering some cold hard truth mixed with tales of love and understanding. They can sting you like a hornet while soothing you with a smile. . Love may be lost, hearts get broken, good friends may turn on us, we lose the farm and are left with-- “A whole Lotta Nothin’. ” I promise you, seeing the StrangeTones deliver the goods helps to make it all better.

They invited me to their volcano home at a secret location (I was blindfolded) where we sat down for an interview. Listen in:

Congrats on 3 successful releases. I trust that the new CD, ‘We’re on our way’ is a steady steamroller?

God yes, it’s been getting a lot of radio play, but steamroller isn’t a strong enough word, I think freight train may be it. We’re really excited.

Andy and Julie, tell us how you two met? Personally, and musically, it‘s obviously a match made in heaven.

Andy: We originally met at the Cascade Blues Society, and we both have a mutual appreciation of music, though we didn’t play until a while into our relationship.

Julie: Friends introduced us and we just kind of hit it right off and found out we

text & photos by Ty Hitzmann


had a lot in common. Both of us were destined for a life of crime-a-billy...What exactly is Crime-A-Billy?

A: If we were to spell it out, it would betray it’s mystique. J: It’s a way of life actually. We can’t actually define it, but we can use it in some

sentences, like, “Do a little dance, make a little love, Crime-a-billy.” “If it ain’t Crime-a-Billy, it ain’t shit.” And of course, “Got C-A-B?”

Suburban Slim: The audacity of C-A-B! The excellence of C-A-B is how we define our life.

J.D. Huge: In C-A-B we trust. Don’t leave home without it. A Crime-A-Billy mind is a terrible thing to waste! Is that tangible enough?Tell me about the song writing process for The Tones. Some of them seem like solo efforts.

A: Not really, most are actually everybody. “That’s how we Roll” was a total team effort.

J: Andy started the idea for “ Mama Makes More” , then we all collaborated.A: We try to get as many people involved at the beginning as possible. If one

person has a song, we try to go down there, we all have ideas.J: Down there into the VolcanoA: Yes, the volcano, of course.SS: Andy’s responsible for the instrumentals as well. A: And there wouldn’t be crime-a-billy without Suburban Slim.

So it’s definitely a democratic collaborative process then?A: And Jeff as well is huge. There’s some songs that come out of the groove as

much the lyric idea.JD: Yeah, like Kathryn’s Style. Phil had lyrics and we went

down into the volcano and we mess around and find what feels good.

A: It’s primarily driven by the bass.

JD: And the drums.A: It is totally collaborative on

all songs, and that’s one thing we have tried to maintain since the beginning and not have it be just the “Julie” band or the “Andy” band, we work as a team which is surprisingly rare in bands. That’s our motto, everybody gets a say, and it’s not “ Well I don’t like that part” “Too bad, you have to play it anyway”.I’ve seen you guys in many different venues lately and people tell me they just have to bring others back for the experience. What is it about you guys that you think is so satisfying and irresist-ible?

SS: It’s part of that energy I think, that teamwork that we strive for. We want the music to be dead serious, at the same time that we’re cutting it up and playing some good shit.

J: And we are having an absolute blast, we are having so much fun. I think it’s contagious, and other people want to be a part of that.

A: I suppose it’s core is our deeper mission: Crime-a-Billy. I think it’s also that we play what we want, when we want. We’re trying to do it on our own terms. With the internet and all the different musical businesses people say “why don’t you send it to this label or that label?” We decided that we have the advantage of our own studio, as well as great distribution through Burnside.I think another big part of the StrangeTone’s appeal is choreography, where did you find Violet and Vivian ?

J: In a back ally.SS: They were camped outside of our Volcano actually, and they were dancing to

the flames. We started to play and they started to dance.Andy &Julie: They say were part of a traveling circus, their mother died, and they

were raised by wolves. It’s a good team, they have their style and steps and it works very well for certain numbers.

JD: And they fit right in as they share the love of the music. We are all having a good time egging each other on. I love the telephone prop, I suppose you have a direct line to the City Commissioner when he needs you guys to solve Crime-a-billy at large.

A: Oh yes! We were the first to hear from Commissioner Sten about his departure. But we’ll keep fighting for this city!You gracefully borrow from different musical genres. I hear some really cool descrip-tions of you from people. I have one of my own. Want to hear it? “Freddy King meets the B-52’s meets the Stones meets Link Wray meets Dick Tracy at the Crossroads.”

All: There you go... right on... we’ll take that.Do you have some of your own band descriptions?

J: Well we started off originally, more traditional blues.

A: And then we got the Crime-A-Billy... it chose us. We wanted to have our own approach to blues and roots music and try not to change it too much, and not be a standard blues band or a standard rock band. To keep songs tight and well structured instead of long instrumental jams.

SS: The Audacity of Crime-a-Billy!

Do you hope your take on the Blues will influence younger players to pick

it up and do something different with it as well?

J: I would just say that I hope younger people just remember to go out and enjoy

live music, cause it seems like there’s too many sitting at home, they seem to go for Karaoke or something more cerebral.

A: Inspire some younger people to play and to have fun with it.Julie and Slim, I’d like to find out how you 2 work together so well and swap solo’s. You can duel together with a dissonance, then turn around and blend into each other to where its indecipherable.

J: Wow... I don’t really know what to say about that, except that we don’t tread on each other. One of us finds a spot and the other fills what’s left. As a band we specifically

sit down and work out the parts...so it’s tightly arranged but with room. Not just Slim and I, we all work out parts that complement each other. It’s definitely fun, isn’t it Slim?

SS: I get through it (laughter) I think we’re more like Hunter and Wagner from Lou Reed’s band. We complement each other.

J: He loves it!A: I think more like Hall and Oates...(laughter from all).SS: Well, you know, any two guitar players, is fun ‘cause you hear what they’re

doing, so you know where the bar it set. And sometimes you’re playfully competing. It’s definitely a conversation.Even with different musical influences, you clearly keep one foot firmly in the blues.

SS: There’s not a music in America that’s not set one foot in the freakin’ blues ! The type of music that we like is borrowed from blues or I suppose some country...

American Roots music. J: It seems that other musicians I know grew up with rock and then discovered the

Blues later. For me it was the first thing grabbed my heart and I was passionate about, more so than rock or anything other genre.

JD: And I suppose that’s one thing that Eagle Park Slim, our friend, said that if you start with the blues, it becomes easier to learn other stuff. But it’s harder to go back if you learn the sophisticated type stuff first. When people get into rock, then discover blues they say, “oh that’s what I liked about rock”.

I suppose part of our twist is that we’re rooted in blues, but not confined by it. Like how Screamin’ Jay (Hawkins) is known for successfully twisting and forging away from tradition.

A: But if it ain’t Crime-A-Billy, it ain’t shit.Since it’s election season, are there any secret messages contained in songs like ‘Poster child’, or ‘Red State’?

J: Yes Ty, and they’re a secret.A: You have to listen to them and come to your own conclusions.

What exactly is a Pinto Squire?SS: You’ve never seen a Pinto Squire?A: It’s a specific model of Ford Pinto that has the stylish wood paneling on the

side. It’s kind of the mini-van of Pintos, and some think it’s a pretty hideous. I thought maybe a cross between a DiPinto and Fender Squire.J: No, it was just a coincidence that I ended up buying a DiPinto guitar years

later. Have you guys had a chance to do any touring out of the country?

A: Yeah, it was backing up Screamin’ Jay Hawkins closing festivals, rather than playing second to last. But it wasn’t this band. But yeah, we have very appreciative

audiences here as well. There’s a great festival scene here in the N.W. that’s as strong as anywhere else.

J: And we’re heading to Mexico soon, which is exciting.Are you bringing along the Volcano Vixens?

J: If somehow they can come along and it were financially feasible, we’d do it in a minute.You have your own recording studio called Meteor Sonic Records. Do you let others record there too?

J: For right now it’s exclusively ours because we really don’t have time for anything else, and when we do record it takes a lot of hours

A: We haven’t yet. We could, I mean there are times when we’ve thought about it, little side projects involving others, or demo ideas. But we put plenty of time into the band and don’t really try to attract other peoples projects.Andy, you’ve brought a lot musical background to this group. Playing with the Terraplanes, the Falcons, Screamin’ Jay among others.

A: Well, I suppose over the years we saw a lot of how to run a band as well as how not to run a band, We’ve tried to approach this as a democracy since the beginning, as silly as that sounds. Jay was a guy who was in some ways totally wacked with the way he’d twist the blues. He was in his 50’s back then, kind of whacked and bluesy and had some sense of humor. We learned a lot from those days .

He wrote “I put a Spell on You” didn’t he?A: Yes he did. Hanging out with him and listening to him rap and talk about the

old days in his life was a special time for me. Playing with any of the old blues guys was a great experience. I just feel fortunate, cause there’s so many players, but I was in the right place at the right time. So it was mostly long hours, with Terraplanes help. When you play all the time you tighten up your chops too with those experiences. But in all honesty I can say that this is most fun I’ve ever had. So that’s what’ll make it stay important for me.You’re a bottom tight bass player, you also play harmonica and a pretty mean slide player as well. Which do you identify the most with?

A: I suppose I’m an instrumental supremacist. I really enjoy it(we joke about that with Julie). Anymore on my iPod, if you looked at it, it’s mostly non-vocal music and I really do enjoy the C-A-B instrumentals, quite a bit.

J: He writes pretty much all of our instrumentals. He brings them to the table.

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talkin’ to the commissioner

“If it ain’t Crime-a-Billy, it ain’t sh!t.”


A: No, it’s everyone, it’s everyone’s sound. Generally, instrumental music is my favorite, Volcano dance party music.You also seem to be the cheerleader / comedian of the group? Julie, you’ve got some history as well. Tell us about your pre-StrangeTone musical life.

J: Well, really I would just say that I was fully seeped in lots and lots of blues because I grew up in a household with a huge blues record collection. But it wasn’t until many years later that I started playing. Like my early 30’s!Wow, you’ve come a long way baby! How about your affinity for Jimmy Reed, The Turners, and Betty Lavette?

J: Betty Lavette is a new one. But Jimmy Reed and Ike and Tina I just grew up on. When I was a teenager I had several records and tapes that I listened to and carried with me everywhere I went. I couldn’t live without them and heard them 10 billion trillion times. Jimmy Reed was my original idol, and started playing guitar along with him.What kind of elements from those influences do you try to bring into what you do?

J: I don’t know if I try, but just a real raw, directness. Um, straight-shot approach.

A: I’ll tell you one thing Julie pulls through, like Jimmy Reed, the story goes he went to Chess Records and they said “we wanna have you play. You can sing, Muddy Waters can play guitar and Little Walter’ll play harp.” He was like screw you, I’ll go back to the steel factory, ‘cause I can play harp and guitar.’ And he had his own style to boot. Well, Julie also has her own style and identity. Like Phil and Jeff, she doesn’t copy. Where some others outright copy I think Julie has a real strong flavor of her own.

You are the “Riff Mistress”. What color do you see when you’re on fire J: I believe blinded at those moments. Blinded. I am not seeing.

I watch you play and think, What goes on in that pretty head of yours to produce such a grit?

J: Uh..SS: Are you going to bring up my pretty head?J: Again, I think it’s just my nature and my natural style to be very raw, and I don’t

make a point to try to imitate somebody, all polished and sounding exactly like someone else. I know a lot of musicians sit and try to learn a lick exactly and I just don’t ever do that kind of thing. I’ll play along with something, but I never try to imitate licks.What’s on your family Victrola now?

J: Dance Hall String Busters, Jungle Rock, Exotica, Las Vegas Crime, and Crime Jazz, Mavis Staples- And I just got this killer, Sharon Jones and some R&B.Suburban Slim, it seems like I’ve seen you play with so many people in the past I can’t sort it all out. Can you help me?

SS: I have a lot of friends that I’ve played music with, but they get tired of me.You’re well respected and sought by many in the musical foray.

SS: Well, that’s nice, that’s some of the stuff that I really enjoy.Your phrasing is intense, your soloing can sting like a hornet, and you have an execu-tion that is spotless.

SS: I don’t know.... A misspent youth. A lot of time, NOT getting laid and in my bedroom, and I listened to everything. I mean, my first records were the Beatles and

Johnny Cash. When I started playing at 10. I started singing to the Big Bopper, Elvis, that kind of stuff. Then when I got to be a teenager, I guess the band I was playing with, we did a lot of Creedence, southern rock and that kind of stuff, it’s what was popular.You’re quite varied. Some of your live solo’s can range from Chet Atkins to Jimmy Page. Everyone was doing the “we’re not worthy” bow to you on New Years Eve. You were on fire.

Well, it’s nice to get acknowledgment from the people that aren’t quite worthy. (laughter from all)J.D. Huge, can you tell me about some important experiences you’ve gleaned from your years as a studio musician, your history?

JD: How I started playing music was through my older brother Pete. He was a guitar player back in Eugene, and he was friends with Andy. So, my brother was a huge influence. So we used to just jam out and play at home to Zeppelin, Cream, Muddy Waters, Buddy Guy, stuff like that. So from there, we went and played with a surf band, the Electric Flys, played with Eagle Park Slim, down in Eugene, a blues guy. Recorded for those guys. Played with the Hamhocks, Jim Wallace. Mark Schneider (recorded with them.) Did some gospel recording as well.And you’ve done some studio work too?

JD: Yeah, live in studios.How has the StrangeTones influenced your approach to playing?

JD: I think because it’s so much fun and so comfortable, it sort of opens up your live performance, when you begin to playing off each other. And you can really build songs up live and really solidify the sound.

J: Can I say, I think he’s just a really good parts player too. When there’s changes in the songs, which we do a lot, Jeff really helps make those changes a distinct part of the songs with what he’s doing on the drums. I don’t know if he was always like that, but there’s less of that happening in say a straight blues band.

JD: For me, I try to think of the whole song, and how it sounds, rather than filling up space with lots of fills and punches and breaks. You try to think of the whole song and how it builds.Watching you, I can really tell your heart’s into it full throttle. You take a bare-bones drum kit and pull a Bonham- like intensity out of it.

JD: A little shaker now and then, a little tambourine now and again, so a little percussion, adds a little flavor to some of the songs. I’m using a Gretsch. They won’t let me add any more drums (laughter) it’s just the right amount of sounds.When you were a kid, which drummer did you want to grow up to be?

JD: John Bonham, you mentioned his name. I mean, he’s every drummer’s idol. Keith Moon, from The Who, big Keith Moon influence. And I did listen to a lot of blues stuff, a lot of Freddy King and Buddy Guy . Those drummers were really very minimal, groove based. So I’m kind of an incarnation of those extremes.You obviously enjoy yourselves to death onstage. You smile and laugh. It really shows.

A: It’s friendship, we like each other. We hang out together. J: We hate to admit it, but we like each other. We are very musically like minded.

We like the same kinds of grooves and similar music. It’s a family affair. SS: We usually try to go in the same vehicle. A: That’s right the brown and tan Astro Van. We laugh and joke. When we get

on stage it’s another extension.JD: Yeah, what could be better? We’ve always played music and loved music and

then being great friends at the same time.You’ve got your public personas and then your secret crime-a-billy lives. Can you give

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us a hint as to what’s next. Any new musical crusades you’re planning?SS: There’s our hunt for Bin Laden.A: We’re starting to write more songs. We have some other theme albums in the

works. Slim has talked about Son of Crime-a-Billy, Return of C-A-B. We have some ideas. We are going to continue to work with the Vixens and do some big stage gigs. We have a lot of great summer stuff coming.

J: And we already have quite a few festivals booked. Just continuing the promo development and getting the video made with the Vixens.

Hey, now that I’m in with you guys, any chance that I can take a tour of the secret Volcano Hideout Cave sometime, or get a date with one of the beautiful Volcano Vixens?

Uh, No (from all).

Check out the Tones’ gear!Andy Strange grooves on:1968 Fender Telecaster BassDiPinto Belvedere Deluxe BassFender Bassman 100 Amp

Guitar Julie knocks it out using: Custom made Conrad amp ‘Blues Jammer’‘64 Blackface Fender Deluxe Reverb amp Dipinto Belvedere Deluxe Guitar 1964 Epiphone Sorrento

J.D. Huge gets his kicks with:Drums: 1972 Ludwig Maple Marine Pearl 5 piece2005 Gretsch Renown Maple Granite Sparkle 4 pieceZildjian cymbals

Suburban Slim tears it up using:Custom made Conrad Amp ‘Blues Jammer’Gibson Les PaulCustom built archtop Jim Wallace designed guitar w/ 50’s Gibson pickups‘71 Fender Telecaster SlimlineSlim uses D’Addarro EXL 115 Nickel Blues/Jazz strings

Awards: 2007- Inducted into Muddy Hall of FameAnd Best Contemporary Blues act (CBA). 2006- Best Contemporary Blues act, and Best Electric Guitar (CBA).2005- Best Contemporary Blues ActBest Electric GuitarBest of the N.W. Award for “Live at the Waterfront Blues Festival” video.Crime-A-Billy- is on the top 100 cd’s recommended by Real Blues Magazine.

Calendar: June14 - CandleLight Room (Portland,OR.)21 - Mac’s at the Vet’s Club (1626 Willamette St.,Eugene,OR.)July04 - PORTLAND WATERFRONT BLUES FESTIVAL!26 - Estacada Summer Celebration (downtown Estacada,OR.)August09 - Bronze, Blues & Brews Festival (City Park, Joseph,OR.)30 - Rendevous Rhythm & Blues Festival (Lake Osovoos, Oroville ,WA.)

The StrangeTones record themselves at:METEOR SONIC RECORDS! a secure and secret locationdeep inside the volcano.

Crime-A-Billy definition: Listen to all 3 CD’s, then you’ll knowstrangetones.com | myspace.com

The Strange Tones discovered us near their Volcano home on a Sep-tember day. We were familiar with their sound and thought we could con-tribute to their legendary mission of sonic crime fighting. They said we could move into their top secret hideout if we had the Crime- A-Billy. Well, those Strange Tones didn’t know what was coming! We shook, we trembled, and we steamed! It wasn’t long until the Crime-A- Billy lifestyle overwhelmed us with fever. We were already fiery, but now, the heat is off the charts with this combination. With our original steps and the Strange Tones original sound, it makes a hell of a Volcano Dance Party.

Vivian Vixen Is an accomplished actress and teaches elementary school drama. She has spent the last couple of years dancing up a storm and adapting to different mediums of performance art. You can hear Vivian front her own dance band Cou Cou Bleu.

Violet Vixen has been dancing a variety of styles (including vintage swing, tango & salsa) in Portland for 10 years. She is also a highly skilled apparel designer and specializes in costume design and vintage replicas.

Drawing from this mixture of influences, Violet and Vivian have the perfect blend of talent to choreograph and perform a truly original show.

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‘78 - China Forbes Heinz Records

Pink Martini lead singer Forbes will surprise many, as this recording in no way resembles her work with the PM orchestra. With an obvious nod to

Sheryl Crow and other singer/songwriters of that ilk (Gregg Williams- who has worked with Crow- produced this record), Ms Forbes sets out to carve a musical niche of her own. And, while it is an expertly recorded project, Forbes fails to gener-ate much heat with this outing, which features a dozen of her original songs.

The productions are better than the songs. Highlights include Eric Earley’s (Blitzen Trapper) send up of George Harrison‘s, “My Sweet Lord” slide guitar intro on “Everybody Needs Somebody.” “Gone” is an affecting uptempo ballad, somewhat reminiscent of Aimee Mann’s work. “I‘m still Talking To You” has its moments. But her remake of the Martinis’ “Hey Eugene” (which she penned) is just as monotonous as the original- with nothing much new to add to the repeti-tive riff of the first version.

It is admirable that China Forbes wants to spread her wings and break away from her position as the Champagne Chanteuse of Portland. But, for the most part, her songs fail to measure up to the sterling production. She has a nice voice, but not distinctive. There is really nothing here to set her apart from a jillion other female singer/songwriters.

Half Hours With The Lower Creatures - Rachel Taylor Brown Cutthroat Pop Records

At the other end of the spectrum is Rachel Taylor brown, whose uncom-promising approach to her work, makes her music sometimes difficult

to fully embrace, but always rewarding. Fans of Kate Bush or Tori Amos- will find a similar distinctive character in Brown’s work, although her music is per-haps not quite so approachable in character and a more elliptically cerebral in its world view.

“You’re Alright Sorla One” is a happy little ditty, all one minute of it, with rapid-pace piano backing. “Stagg Field” creates an interesting perspective in ¾ time- making a strange love song out of the composition of an atom bomb. The solitary “Passion” contemplates Christ in a corrupt society. Continuing with the biblical context, “Abraham And Isaac” invokes a messy chapter of the Old Testa-ment, with sparse, but effective instrumental backing- building into symphonic grandeur.

“BS (Beautiful Saviour)”continues the biblical/anti-war theme, chiming in like Kate Bush’s “Army Dreamers,” only with more purpose and intensity. “Another Dead Soldier In Fallujah” plays hardball with today’s current political scenario- which, unbeknownst to this administration, is wreaking havoc on tens of thousands of lives, here and across the world. The instrumental “Arlington,” places a wordless explanation point on the preceding (in counterpoint to the opening instrumental track“Hemocult/I Care About You” which is punctuated by the constant ringing of a phone) songs, with a clock ticking solemnly throughout.

The final four pieces carry through with the theme of loss and desolation- something Rachel Taylor Brown expresses very well. This album, while just as esoteric as all of her previous work, seems more accessible- perhaps due, in part, to the subject matter and the directness of her circuitous imagery; but also to the relative (compared to her earlier albums) simplicity of her melodies and arrangements. Just the same, this is a difficult, intelligent album with touches of true artistic grandeur and greatness and it is one of the best records released in this city in some time.

High Dive - Little BeirutSelf-Released

As many people know, “Little Beirut” was the nickname given to Portland by Daddy George Bush’s administration back in the early ‘90s- a name

well-earned and one for which the city has maintained its militant stance and independent pride, over the years. Engineered by Jeff Saltzmann (who also co-produced Rachel Taylor Brown’s album), Little Beirut, the band, are the product of Hamilton Sims and Edwin Paroissien, from whom we last heard in Silkenseed, some years back.

With many elegant musical touches and a dozen well composed songs, there is much to recommend this album. It sounds contemporary and like the work of many better known national acts- and is certainly worthy of national exposure and attention. Favorite songs are “Acid Wash Soul,” with its jagged guitars and a great rhythm section interaction between bassist Jonathan Trause and drummer Alex Inman. The quirky “Love During Wartime” is dedicated to Condoleeza Rice, probably one of the nicer songs she has ever had written for her (if she has received any others that didn’t include suggestions as to where she could post it herself ).

And the brief instrumental “Estacada” is far more than that rathole deserves- with chiming washes of guitars underpinned by airy acoustic guitars and the faint sounds of people laughing (probably in a barroom). “Star Maps” connects with satisfying background vocals and a writhing percolation of guitars throughout. The dreamy title track catalogs the loss of a close relationship in images spidery sweet and sadly resolute.

Little Beirut have a winner of an album here. There is not a bad track. No filler. Every song is excellently crafted and presented. If they are of a mind, this band could easily become a national commodity. They are a world class aggrega-tion and fine representatives of the pride Portland takes in being different from, and better than, the rest of the world.

“Pink Martini lead singer China Forbes will surprise many, as this recording in no way

resembles her work with the PM orchestra.”

LIVE

Nada Surf - Crystal Ballroom - March 26, 2008

Brooklyn-based Pop trio Nada Surf have been together for over a decade. They broke onto the scene in 1996 with Elektra records

and the Ric Ocasek (The Cars) produced High/Low. That album spawned their MTV hit, “Popular,” a direct-talk song that has been imitated numer-ous times since.

In a familiar trajectory, the band soon soured on the corporate flatu-lence of being performing monkeys for a major label; splitting to release subsequent albums on a couple of Indie labels (including the long delayed album Proximity Effect)- finally ending up with the Seattle-based Barsuk label.

The band have now produced six albums (the last three on Barsuk), including the out-of-print North 6th Street and a couple of EPs over the intervening years since their debut. Their cool, harmony based songs have matured over the years as well, with singer/guitarist Matthew Caws pro-viding thoughtful lyrics over memorable melodies. They have developed a sound akin to bands such as the Shins and Death Cab For Cutie (the peripatetic Chris Walla of Death Cab produced their 2005 album The Weight Is A Gift)

Performing before a near full house of appreciative fans at the Crystal Ballroom, the Surfers drew heavily from their three most recent albums: Let Go, from 2003; The Weight Is A Gift and their brand new 2008 release Lucky. With Caws leading the way, supported by be-dredded bassist Daniel Lorca and drummer Ira Elliot, the band ran through a brisk set of their hits (and should-be hits), beginning with two uptempo selections from Let Go: “Hi-Speed Soul” and “Happy Kid,” the band then moved to a more moderate musical stance, with a cut from the new album, “On Whose Authority” and “What Is Your Secret” from The Weight.

A dedicated blogger, Caws gave repeated shout outs to members of the audience, whom he knew through the internet; delivering birthday wishes to one devoted fan. Meanwhile, the band hit its stride with stirring versions of “Killian’s Red” “Inside Of Love” and “Fruit Fly” from Let Go, before launch-ing into the obligatory performance of the song that originally won them fame: “Popular,” although they raced through it without much enthusiasm, obviously tired of performing the song for so many years.

The back end of the set was loaded with songs from the new album- “Ice On The Wing,” “Are You Lightning” and “Beautiful Beat” before launch-ing into their latest hit, the poignant “See These Bones,” a song that could easily pass for one of Death Cab For Cutie’s best (Ben Gibbard even sings on the album version of this song). A fine version of “Blonde On Blonde” wrapped up the show. The band returned to encore with a sterling version of one of their other hits, “Always Love,” wrapping up a solid set of well-

wrought songs.

Nada Surf are among the second tier of good bands, whom have yet to break it big on the national scene (ala Death Cab), but are slowly moving up the ladder of success, all the same (their previous Portland gig was at Doug Fir, in January). The band’s level of commitment to their craft, and the infectiousness of their material, guarantee that they will be reaching the higher rungs of that ladder very soon.Colin Meloy - Wonder Ballroom - May 3, 2008

It wasn’t that long ago that Colin Meloy was playing solo around town, amusing himself and the staff at the various bars in which he performed,

with few others in the audience. Since then, he managed to form the December-ists, a band which has met with no small national success- especially among the more literary among today’s music listeners. So it was not particularly startling that his return to Portland in a solo capacity was met with an adoring crowd, eager to love him.

Meloy is the type of artist for whom there is no middle ground. You either love him or hate him. Detractors have hung the “precious” label on him more than once. And his astute adherence to quasi-historical references in his songs, as well as a highly developed vocabulary, have led some to condemn him- despite the fact that his approach is not particularly new. It is possible that the early 20th Century poet Edward Arlington Robinson (“Richard Cory,” “Luke Havergal”) has played a part in Meloy’s work. But there are other antecedents too.

Al Stewart, who scored a few hits in the early and mid-70’s, tapped into the historical vein with a song called “Roads To Moscow” (among several others throughout his early career) from his album Past, Present And Future (1973). That song charted the disastrous German invasion of the Soviet Union in 1941 and clocked in at over nine minutes in length- and, despite the fact that Meloy wasn’t even born when the song was released, his nasally vocal resemblance to Al Stewart is uncanny. And given his penchant for obscure covers, Meloy would be well advised to check out “Roads To Moscow” as a possible addition to his

set list.Opening act, Laura Gibson was a vague musical shadow, etching out

imperfect songs that lacked definition, sung with a wan voice, familiar in this era of wan-voiced young women who sing their songs.

But the crowd was hungry for Colin Meloy and, in that regard, he fed them with a selection of songs from most of the Decemberists oeuvre- but also with a cover or two and a preview of a triptych of songs scheduled to appear on the next Decemberists next recording; as well as the occasional oddity and out take.

Ostensibly, this and other performances on his current tour were in support of his newly released solo CD- Colin Meloy Sings Live (Kill Rock Stars in CD format. Jealous Butcher for the vinyl- which contains a bonus track), which was recorded during his 2006 solo tour.

Kicking the evening off with “Shiny” from the Decemberists 2003 EP, Five Songs, Colin immediately held the swooning throng in the palm of his hand. From there, he drew from all of the Decembrists albums- with a preponderance of the material from the most recent releases: Picaresque (2005) and Crane Wife (2006).

Highlights of the evening included a sterling version of the aforementioned “Shiny,” a cute rendering of the band’s “hit,” “Perfect Crime,” whereby the audi-ence provided the signature Chris Funk (Decemberists lead guitarist) guitar riff. A fine rendition of “Red Right Ankle” and a stirring version of “The Sporting Life” were also noteworthy. An oddity was the Meloy’s brief demonstration of his “worst song ever,” “Dracula’s Daughter,” which seemed not nearly so bad as most of The Tain.

Of lesser impact was his take (in a duet with Laura Gibson) on Sam Cooke’s chestnut “Cupid.” The pair did nothing to improve upon the song and, primarily, just made their way through it. But the packed house did not care. They would have (and possibly did) loved Colin Meloy clearing his throat or enduring a coughing

fit. And rightfully so, as the hometown boy (by way of Montana) had made good and the crowd rewarded him accordingly.

Still, it must be said that Meloy employs an array of vocal affectations that can truly distract the casual listener. His Cockney dialect seems feigned and unreal, despite the subject matter of many of his compositions. And his apparent occa-sional speech impediment, which will not allow him to consistently pronounce an “or” sound- such as on “I Was Meant For The Stage,“ where sometimes “boids” for “boards,” sometimes “escorted” pronounced accurately.

If this did not seem wholly intentional and exaggerated, it would not be noteworthy. But this pretension, as with other vocal peculiarities, seem to have cropped up since the days of 5 Songs and Castaways And Cutouts, where they were not readily apparent.

Still, that quibble aside, Colin Meloy is an unusual talent, with great skills for creating and defining a milieu which he alone populates and he alone can depict. And for that, he readily deserves all the attention and adulation that might come his way.French Kicks - Doug Fir - May 15, 2008

Playing in support of their new album, Swimming, this vital, Brooklyn-based (originally from Washington DC) quartet proved that they are

more than the sum of their collective recorded parts. Together for ten years, the current (and permanent) line-up have produced two albums together, including Two Thousand (2006), which spawned the semi-hit “So Far We Are,” and the new release.

The band drew heavily from the new album in this performance, playing nearly every song, some of which are the best that the band has ever produced. Standouts were “Abandon” where guitarist/keyboardist Nick stumpf and lead guitarist Josh Wise wove together close vocal harmonies over drummer Aaron Thurston’s hard-hitting big beat. The lovely “Carried Away” and Love In Ruins” were also well-done. Wise’s Spanish double time rhythm guitar (reminiscent of Interpol’s Daniel Kessler- on their “The Lighthouse“) made “Atlanta” very special, as did Thurston’s tricky 6/8 time drum work and bassist Lawrence Stumpf ’s sparse but effective bass lines.

It is apparent that French Kicks, like Nada Surf before them, will need to move to a bigger venue for their next Portland performance, as their sound and performance level deserve more room to breathe. With the advent of the new release, it seems obvious that the band are surely on to bigger things.

French Kicks managed to overcome an energy-draining performance by the opening band, Portland’s Pseudo Six. Playing every song at nearly the same tempo, slower than the normal heart rate, the quintet seemed absolutely disinterested in creating any energy of impetus in their tragically flawed, nod inducing set (which seemed far longer than it really was). Dumbfoundingly soporific, with the kinetic energy of a dryer fabric-softener sheet.

Here’s a tip for local bands, given the opportunity to open for a national act: do not take a luxurious swig from your bottles of beer after every song, destroying any sense “momentum” you might have had going with your mid-tempo songs. It really is best to just play your set through, as quickly as you can, with as few interruptions as is humanly possible.

Another gripe: keyboard players, do not sit at your instrument. You are not in a cocktail bar, playing Billy Joel songs. If you are unable to stand when you are playing, you are in the wrong business. In the case of Pseudo Six, their keyboardist chose not to stand, nor to vary his keyboard sound or tone, even once- relegating his instrument to a Smooth Jazz, Fender Rhodes-y pile of mush. The band were not without their positive aspects, but the members were obviously too nervous or too distracted to showcase those charms in any meaningful way.

It is to French Kicks’ credit that they were able to overcome that black hole of an opening set. They had to jumpstart the evening, as if with defibrillator pads to the collective consciousness of their audience. Many bands, even national acts, could not have pulled that off.


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Boy Eats Drum Machine Two Ghosts : self released

It’s been quite a while since I’ve been able to tune both ears and

mind upon a recording solidly in an eclectic category, but can also success-fully blend more common elements of hip-hop, rock and jazz. To my surprise, this cd met much more than the mark. Here I also found slight hints of classical, theater, and light operatic elements seeth-ing with dissonance, while at the same

time, very cohesive and listenable. On the cutting edge is this cd from Portland

musician Jon Ragel, who wrote all the material, and is as gifted and varied as the different instru-ments he can play. His mission has been to defy all the confinements of genre. The instrument which has helped him define this stellar achievement is a classic hip-hop R&B drum machine. But for this cd he uses strictly conventional drum kit and a turn-table. He is accompanied by Ben Rickard (synth, guitar, vocals) and Peter Swenson (drums). Miss Murgatroid lends her stylish accordion and power-ful vocals, along with a few other lesser known but abled musicians who contribute nicely. Brandon Summers flute is from Helio Sequence

This saga that BEDM has successfully self-pressed is a truly unique and interesting multi -layer of sound. There are magnitudes of Psychadelia meets classical hip-hop. Kind of as if Sgt. Pepper got caught in a daunting chase in some Michael Mann film. Or, more to the mark, “1984” meets Medeski Martin and Woods (the cd’s theme is loosely based upon George Orwell’s book 1984). Jon’s vocal style can be mildly reminiscent of Lenny Kravitz at times, except the

lyric content contains more thought provoking images and intensities closer to John Lennon. His delivery, along with well placed keyboard and synth are at times more like a superimposed modelling of an early Yes album. Tom Waits merges with an atom.

There are so many instrumental overtones to choose from, it sometimes boggles the mind to try and figure out the actual from the synthetic. The female voicings are well placed, and angelic. The Instruments are impeccably precise. I felt as if on a mysterious journey, but safe onboard Ragel’s tightly-built spacecraft travelling back in time. This effort seethes with discontent, yet soothes the listener and entices you for more, like a great novel - Think of reading Tim Robbins “Jit-terbug Perfume”while listening to the soundtrack from “5th Element.”

The opening track “3000 Flares” which at first contains some familiar hip-hop beats, but soon hints with hooky horns and on -demand powerful voicings. John starts by telling us that we’re about to hear a story about the destructive intent of mankind, but with options to try to forge a future where we can do the right things. His loving female companion is remotely by his side as he beckons her to

come away with him in, “From an Oregon shore.” With each bridge of the song, he uses different instruments to keep driving the story uniquely further.

This is a very catchy tune. The bass lines keep the song attentive, and the back up “doo doo doot” voicings are cool. Keyboard noodlings give it a morphemic dream sequential feeling to it.

Next stop lands us somewhere between a spaghetti western meets a scene from Pulp Fiction. “Into the open spacs of the west”. I love the female vocals that he sprinkles in, they have a slight Star Trek theme sound to them. Ragel can easily paint vivid pictures of time and space. As the following tracks surge ahead, they begin to command more and more attention. They take many twists and turns which give the listener many sounds and textures to move and delight the emotions. “Asleep” has a lullaby quality and soothing motherly-like vocals from Laura Gibson. Definitely cohesive a bright. Great upright bass thumps beat like a heart floating in a warm bath.

“In Crossing Wind” wakes us up and takes us to a triumphant escape. Fight or flee. Flight or fancy. Plenty of changes in this piece.

Movements might be more like it. Something that Le Tour Du Bloc or Ensemble Modern might do. Soft, yet strong female pipes continue to ad emotional color and balance. It has an outtake quality to it, like what is heard at the end of The Beatles “Piggies”.

Children’s toys, clocks, and drumming headhunters go together so well I always say, and whodathunk the twine could meet? The Beastie Boys, Bolivian Monks, and Link Wray can actually play together- the hell you say! Parlament and Pink Floyd write songs together- alas! If you don’t belive me, just listen to tracks 6 - 8.

“The Damned” is a killer number with some great rock vamping. It also carries some Tom Waits and ‘Beastie’ vocal stylings. The bridge is in delightful disarray - yet it somehow has a classic rock quality that should somehow be on the radio. The responding vocals are thin and quivering as if through a megaphone. “Alliances” and “Villiage Bells” are delivered with a Floydian like temper, and whispered in a Roger Waters like scrawl. Miss Murgatroids spacey vocals along with the melting organ lines wind chimes are arresting.

“Two Ghosts” is a nice book ending pop song with its wispy rhythm guitar, simple yet ample keyboard lines that go nicely together. both tenor and baritone saxophone are utilized simultaneously, tightly honking like an choral flock of geese . This song is reminiscent of some of the better B sides of hits from the 80’s. The “Reprise” that finalizes the cd calls to mind early Elvis Costello and the Attractions with its soaring church organ and repeating chorus line.

This cd ranks among the most varied and thought provoking I’ve heard in a long time. A class act of integration and cohesiveness. A bright scope of well thought out themes, and vast array of instrumentation, makes it the real deal. A simple yet compelling story explained through the beautiful complexity of music.

There is a splendor. There is war with its ultimatums. There is hope, there is fear. But through it all there is love that prevails. And, just as in the year 1984, there are still musical territories that are still being successfully discovered.

Joe McMurrian QuartetLive at the White Eagle: Woodbrain Records

Joe McMurrian has assembled a band together for live performances that has succeeded in carving out a uniqueness pretty much unparalleled. Certainly anyone in his class could learn something from this quartet’s rare chemistry. It would be fair to assume that the likes of Ry Cooder, Neil Young and maybe even a bit envious of the ableness envy and applaud for this collection of live recordings. JMQ has played weekly at the White Eagle Saloon in Portland for some time now, and this cd compliments their tenure there well. Joe by himself is already one of the better one -man combo acoustic guitar/ singers in the Pacific NW. He is an excellent storyteller, and keeps his audiences interested with his great stylings of rhythm and slide. Backing him is David Lipkind on harmonica, Jason Honl on bass, and drummer Jimi Bott who enjoyed years of experience and success in the Fabulous Thunderbirds. It’s worthy to mention that Jimi now lives in Portland, and seems to prefer both fronting as well as accompanying many local musicians.

The tracks were recorded over a 2 month period and are meant to focus on their exponential growth as a band. This group has no problem spontaneously interpreting traditional numbers in their own unique way, as well as constant improvisation or reconstruction of their own songs.

This band performs synched and linked to each other like an iron steam engine. Their parts are indelibly bolted on tight and moving together like a well- oiled tractor puffing through the dirt on a hot summer day. All kinds of western (and N.W.) images are called to mind when they play: Tree trunks, old steel saws, sunbleached weather-worn picket fences. Hot shaded porches snagged with hair from the hound who sleeps there. Miles of train tracks littered with old rusty cans, cigarette butts and beer bottles. The 4 track close-miking accentuates all the tweaks and creaks, and woody scrapings, which lends to the overall antiquities experi-ences this kind of music invokes. Joe’s stories can take you right to his carefully designed destinations, like flash scenes from a good movie.

More than half are Joe’s own songs, while covers of Robert Johnson, Blind Willie McTell, and The Carter Family are given the band’s own special flavor. Mountain flavored mid -century delta blues, country honk, acoustic porch, and freight train rhythms are on the menu here. What’s interesting to note is that each player glaringly shines through the other musicians as if they are the featured solo-ist - but they never step on each others toes . This is because the call and response segmenting is tight and close together. These guys have to be intensely tuned into each other for this kind of reaction. Always connected to the slight but steady tempo accelerations are the reagent that makes them meld together so well.

On harmonica, David Lipkind is a constant puncuator, he’s got the kind of harp tone and delivery that even non-harp lovers can ride with. He settles into each song like a train magnetized to the tracks, Slow, steady, and strong. Most notably 8 minutes into “Preachin’ Son House” where his chaotically but controlled blowing morphs between sounding like a melting space- age squeeze box and a dog howling along with a screaming steam engine. Jason hunches down and works his bass lines with a complexity that is uncommon for this kind of music. Bott fits right in with about any kind of change-up they throw at him.

McMurrian himself is constant throughout, his acoustics are intricate, steely and wooden. His lyrics are well explained and sort of mesh, he accents the punch lines into the drum beats. Joe’s vocal style can call to mind Mark Knopfler, and his drawn out vibrato’s sometimes bring Ian Anderson from Jethro Tull to mind. The only small drawback to this CD is the sometimes lengthy quietus segments in the middle of some tracks, which could make it tempting to forward. However, these few areas are usually followed by extended jams well worth the wait.

You can catch JMQ at the Laurelthirst Public House once or twice a month.

by Ty Hitzmann

I thoroughly enjoyed watching them play this material some months ago and have never forgotten the experience.

The TroublemakersChop Shop Pit Stop: Masten Music

The Troublemakers are a hard working Portland based rock-a-billy, blues and roots rock band, and just so happens to include some of the best Gentlemen you’ll ever meet. They also brew up a mean dose of guitar duo duelings, along with a rhythm section that backs up one of the finest southern grown front men wielding a harp.

Rich Layton plays harmonica as smooth as silver and as fine as gold. The T-Makers call their sound harmonica-fueled, high octane roots rock. Their audi-ences might be attracted by references to Dave Alvin or the Blasters. They also ring a slight resemblance to Lil’ Charlie and the Nightcats style, though they sweat a lot more swamp and spitfire. Throw a little Stones, Bill Haley, Chet Atkins and Zydeco in, and we’re good to go. This release captures them well rehearsed and with new axeman, Mark “The Rev” Sexton who’s been knocking rhythmic leads outta the park for a long time. A rock’n’roll veteran looking for a band that actually stood for something has found a solid home in a solid band along with original members. Together, they work out some solid sounds on hip covers and new material.

“Cindy Lou” calls up a little of Chuck Berry style. Layton’s singing style solidly hits the note when it comes to Jerry Lee Lewis, or Elvis oriented vocals. He writes a few of the better tracks on the CD. “Great Big Fun”, is a hothouse number with that roadhouse feel. Snappy guitar leads set opposite chromatic-sounding harp lines gives it a windy expansiveness. Layton also penned “Something Bor-rowed, Something Blue” and invited a couple of fellow Texans to contribute to the track. Wally Shannon nails it down with rock-a-billy boogie piano, while 85-year-old! George Slanina, Sr. glides along top on pedal steel. Their nod to Nashville is reminiscent of the Grand ‘Ol Opry, and testifies to the ‘Makers respect of Bob Wills and the Texas Playboys along with Chet Atkins.

Their rendition of the Otis Rush classic “Homework” stands well apart from most covers I’ve heard before. A version of The Romeo Dogs “Little Bitty Tears” calls up the long lost authentic Bakersfield sound that only greats like Buck Owens could usually command a proper ownership.

“7 Nights to Rock” return us to Bill Haley’s reign of days, and a longing to experience a time when true love was found either over a good old fashioned milk shake... or a flask at the drive-in. Try or not, Layton has a knack for duping zydeco on his harp in a way that is hard to describe. He’s not audibly that different from many harp players, but he’s got great timing and a delivery presence setting him apart from many by playing fat chords on a straight harp .

“Farmer John” is another number that this group could almost call their own. They have the ability to stamp covers with their own indelibility. Freddie King’s

“Takin’ care of Business”, and Jimmy Vaughns’ “Boom Bapa Boom”plus at least a couple others, capture that classic small room reverberant sound that Sam Philips created at Sun Records.

Chop Shop has an original vintage feel. This is evident in the live shows I’ve seen of the band. The audiences dance, whip it up, and hoot and holler. They like to do it right up next to the Rev’s tattoos that dance down his arms to his baby blue Tele, and Rich’s ruby red shit- kickers stomping out swamp-swing and jump blues like there’s no tomorrow.}


You can also see this guide online at buko.net, to save space long equipment lists are limited to the online listings.

Attorneys Entertainment

Jeff Brown1327 SE Tacoma St., PMB #262Portland, OR 97202Email: [email protected]

Bart Day1001 S.W. Fifth Avenue, Suite 1100, Portland, Oregon 97204Phone: 503/291-9300Email: [email protected]

Jay M. Schornstein1609 SE 48th Avenue Portland, OR 97215Phone: (503) 232-3498Fax: (503) 231-6491Email: [email protected]

Band Listings can be found online at buko.net

Design and Photography Services

by BukoPO Box 13480 Portland OR 97213Email: [email protected]: www.bybuko.comSpecalize in Photography and Print Design some web.

Cravedog Inc. 1522 N Ainsworth St. Portland, OR 97217 Phone:(503) 233-7284 Toll free: 866-469-9820 Email: [email protected] Web: www.Cravedog.com Owner: Todd Crosby. Graphics for CD packaging with order.

Get Up Media Phone: 971-227-8929 Email: [email protected] Web: www.getupmedia.com Specalize in web design, myspace design and marketing, graphic work and photo editing.

Juliana Tobón • PhotographerPhone: 503.544.5882email: [email protected]: www.jtobon.com

Nettleingham Audio 108 E 35th Vancouver, WA, 98663 Toll Free: 888-261-5086 Phone: 360-696-5999 Email: [email protected] Web: www.nettleinghamaudio.com Owner: Kevin Nettleingham Graphics for CD packaging with order.

Silverlining Media Phone: 503-805-1259 Email: [email protected] Web: www.silverliningmedia.net Specalize in web design.

Zap Graphics2014 NE Sandy Blvd. Suite 208 Portland, OR. 97232phone: (503) 232-8785Web: www.zapgraphics.comEmail: [email protected] packaging design and productionPhotography, Web designAdvertising, Graphic Design

Duplication/Manufacturing

Allied Vaughn1434 NW 17th Avenue Portland, OR, 97209 Phone: 503-224-3835 Email: [email protected] Web: www.alliedvaughn.com Contact: Kevin Felts Rates posted at website: no 500 CD Package Cost = $1,895.00 3 color on-disc printing 4/1 4-panel insert + tray card, in jewel case with shrinkwrap. 1000 CD Package Cost = $1,795.00 3 color on-disc printing. 4/1 4-panel insert + tray card, in jewel case with shrinkwrap.

Audio Duplication Plus5319 SW Westgate Drive Portland, OR, 97221 Phone: 503-203-8101 Email: [email protected] Web: www.avduplication.com Contact: Bruce Hemingway Rates posted at website: no 500 CD Package Cost = $1,050 Retail Ready package. Descriptions unavailable. 1000 CD Package Cost = $1,300.00 Retail Ready package. Descriptions unavailable.

BullseyeDisc3377 SE Division, #105 Portland, OR 97202 Toll Free: 800-652-7194 Phone: 503.233.2313 Fax: 503.233.4845 Email: [email protected] Web: www.bullseyedisc.com Rates available at website: yes

CD Forge1420 NW Lovejoy Suite #327 Portland OR 97209 Phone: 503.736.3261 Fax: 503.736.3264 Email: [email protected] Web: www.cdforge.com Rates posted at website: get an instant, fully customized quote.

Co-Operations, Inc.20049 SW 112th Ave Tualatin, OR 97062 Toll Free: 866-228-6362

Phone: 503-620-7977 Fax: 503-620-7917 Email: [email protected] Web: www.co-operations.com Rates posted at website: no.

Cravedog Inc.1522 N Ainsworth St. Portland, OR 97217 Toll Free: 866-469-9820 Phone: 503-233-7284 Email: [email protected] Web: www.Cravedog.com Owner: Todd Crosby.Rates posted at website: yes 1000 CD Package Cost = $1,220.00 3 color on-disc printing. 4/1 4-panel insert + tray card, in jewel case with shrinkwrap. Call for 4/4 pricing.

Dungeon Replication106 SE 11th Avenue, Portland, OR 97214 TollFree: 877-777-7276 Phone: 503-796-0380 Fax: 503-223-4737 Email: [email protected] Web: www.dungeon-replication.com Rates posted on website: yes

1000 CD Package Cost = $1,235.00 Includes glass master, 3 color on-disc printing, 4/1 four panel folder, 4/0 tray card, jewel case, assembly and shrinkwrap. You supply the film.

Logic General26200 SW 95th Avenue, Suite 300 Wilsonville, OR 97070 Toll Free: 800-959-7747 Phone: 503-598-7747 Fax: 503-598-9375 Email: [email protected] Web: www.logicgen.comRates posted on website: no.

Nettleingham Audio108 E 35th Vancouver, WA, 98663 Toll Free: 888-261-5086 Phone: 360-696-5999 Email: [email protected] Web: www.nettleinghamaudio.com Owener: Kevin Nettleingham Rates posted on website: yes 500 CD Package Cost = $945.00 5 color on disc print, 4 page 4/1 insert and traycard, (black or clear tray) Jewel Cases and Overwrap, free bar code, no overs, shipping to the Portland/Vancouver area. 1000 CD Package Cost = $1,180.00 5 color on disc print, 4 page 4/1 insert and traycard, (black or clear tray) Jewel Cases and Overwrap, free bar code, no overs, shipping to the Portland/Vancouver area.

NWMedia106 SE 11th Avenue Portland, Oregon 97214 Toll Free: 800.547.2252 Local: 503.223.5010 Fax: 503.223.4737 Email: [email protected] Web: www.nwmedia.com Rates posted on website: yes Retail Ready packages - Short Run/Fast Turn packages – Recycled paper stock options – Jewel case/Digipaks/Wallets/Sleeves – Posters/Flyers/Stickers – 100 posters = $49, 300 posters = $99 with a retail-ready package – Call for the latest specials!

Phylco Audio Duplication10431 Blackwell Rd. Central Point, OR, 97502 Toll Free: 800-348-6194 Phone: 541-855-7484 Fax: 541-855-7581 Email: [email protected] Web: www.phylcoaudio.com Contact: Gail Husa Rates posted on website: yes 500 CD Package Cost = $936.00 2-panel full color insert and tray card (4/1, full color outside, black and white inside) , 2 color on CD, insertion of printing into jewel case, shrink wrap, and barcode.” 1000 CD Package Cost = $1,224.00 2-panel full color insert and tray card (4/1, full color outside, black and white inside) , 2 color on CD, insertion of printing into jewel case, shrink wrap, and barcode.

SuperDigital1150 Nw 17th Ave Portland, OR 97209-2403 Toll Free: 888-792-8346 (orders only) Phone: 503-228-2222 Email: [email protected]

Web: www.superdigital.com Owner: Rick McMillen Rates posted on website: yes 500 CD Package Cost = $950.00 3 Color Printing on disc- from supplied film1100 4 page Full Color(4/1) Booklets & Tray cards from supplied color film. Includes FREE UPC BarCode, glass master, jewel case and wrap. 1000 CD Package Cost = $1,165.00 3 Color Printing on disc- from supplied film1100 4 page Full Color(4/1) Booklets & Tray cards from sup-plied color film. Includes FREE UPC BarCode, glass master, jewel case and wrap.

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26 - Buko magazine Vol.2 No.1

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Burnside Records3158 E. Burnside Portland, OR 97214 Phone: (503) 231-0876 Fax: (503) 238-0420 Email: [email protected] Web: www.burnsiderecords.com Owners: Terry Currier & Jim Brandt Producers: VariousTypes of music released: BluesArtist roster: Mason Ruffner, Henry Cooper, Paul Brasch,Johnny & the Distractions, John Fahey, M.Doeherty, Mick Clarke, David Friesen, Obo Addy, Lloyd Jones, Too Slim & the Taildraggers, Kelly Joe Phelps, Terry Robb, Duffy Bishop Band, McKinley, Gary Myrick, Sheila Wilcoxson Bill Rhoades & Alan Hager, Bugs Henderson.Distribution: Burnside sub-distributes two Port-land based labels: The Magic Wing and Eurock. National distribution through Distribution North America & Rock Bottom.Affiliated Label: Sideburn RecordsTypes of music released: Roots RockArtist Roster: 44 Long, Rudy Tutti Grayzell, Tommy Womack.

Cavity Search RecordsP.O. Box 42246 Portland, OR 97242 Email: [email protected] Web: www.cavitysearchrecords.com Owners: Denny Swofford, Christopher Cooper Types of Music Released: Music we like by bands/artists we like. Artist Roster: Pete Krebs, Pete Krebs & Gossamer Wings, King Black Acid, Richmond Fontaine, Golden Delicious, Wayne Horvitz, Steve Lacy, Elliott Sharp, Elliott Smith.

Criminal RecordsP.O. Box 25542 Portland, OR 97225 Phone: 503-244-5827 Contact: Paul Jones Types of music released: Northwest Blues, R&B. Preferred submission: We’re not looking for new artists. Kinds of deals usually offered: CD, cassette. Artist roster: Claire Bruce, Paul DeLay Band, J.C. Rico, Linda Hornbuckle, Lloyd Jones Struggle, Dave Stewart, Jim Mesi Band, Joe Dobro, Too Slim & the Taildraggers, Paul Jones, Shade.

Diamond Z Records16016 Lower Boones Ferry Road, Suite 5 Lake Oswego, Oregon 97035 Phone: 503-675-1670, 503-635-7355 Email: [email protected] Contact: Steve Landsberg.

Elemental RecordsPO Box 55771 Portland, OR 97238-5771 Phone: 503-803-6020 Email: [email protected] Web: www.elementalrecords.com President: Cassandra Banton Vice President: Robert Wynia Exec Producer: Diogenes Alexander Xenos Roster Management: Aaron Thorpe Active Roster: Floater, TV:616, Blyss Available: Jollymon, Sweaty Nipples, Henry’s Child, NW Compilations Distribution: Direct, Burnside, Valley Records Studios: Gung-Ho Studios (Eugene), Freq (Portland) Submission format: CD or high quality video Offering: Unusual agreements for the right bands.

EON RecordsPO Box 5665 Portland, OR 97228 Email: [email protected] Web: www.eonrecords.com Owners: Tommy/John Thayer Producers: Various

Types of music released: new Artist roster: 28 IF, Black’n Blue, Dan Reed Distribution: Nail Distribution/Portland, OR

EurockP.O. Box 13718 Portland, OR 97213 Phone: 503-281-0247 Fax: 281-0247 Email: [email protected] Web: www.eurock.com Owner: Archie Patterson Types of music released: License recordings by European & American artists. Submission Formats: CD’s. Kinds of deals usually offered: CDs. Artist Roster: Dweller at the Threshold, Gandalf, Robert J. Horky, Erik Wollo, Green Isac, Tim Story, Mikhail Chekalin. Distribution: DNA North America, Burnside Records.

Flying Heart Records4026 N.E. 12th Ave. Portland, OR 97212 Phone: 503-287-8045 Email: [email protected] Web: www.teleport.com/~flyheart/ Owner: Jan Celt Producer: Jan Celt Types of music released: Original NW artists and related projects. Submission Formats: Demo cassettes. Kinds of deals usually offered: Album projects, Publishing of related materials. Other services offered: producer services and bands wishing to make their own releases. Artist roster: Janice Scroggins, Tom McFarland, Obo Addy, The Esquires, Napalm Beach, SnoBud & the Flower People, Snobud Comics by Chris Newman, Phillip’s Dream World coloring book for children, written and illustrated by Chris Newman, Eddie Harris, Thara Memory, the Gays. Distribution: Burnside.

Heinz Records728 SW 1st Ave Portland, OR 97204 Mailing Address: P.O. Box 4628, Portland, OR 97208 Phone: 503-249-0808 Fax: 503-249-7842 Submission format: We are not accepting submis-sions right now. Artist roster: Pink Martini, 3 Leg Torso, Le Happy Web: www.pinkmartini.com.

Jus Family Records3439 NE Sandy Blvd #701 Portland, Ore 97232 Phone: 800- 757-1851 Email: [email protected] Web: www.jusfamilyrecords.com Owners: Terrance Scott, Bosco Kawte Types of music released: Hip-Hop, R&B and any other form of good music. Submission Formats: cassettes Artist Roster: Cool Nutz, Kenny Mack, G-Ism, Monkey Mike.

National Dust RecordsP.O.Box 2454 Portland, OR 97208 Phone: 503-903-0625 Web: www.angelfire.com/nd2/nationaldustrecords Email: [email protected] Contact: Shan Producer: the bands choice. Types of music released: Punk rock, rock’n roll. Submission Formats: tapes/records. Kind of deals offered: % of product pressed. Artist roster: Apt. 3G, Nixon Flat, Nervous Christians, Jimmies, Low Rent Souls, Lazy Boy. Distribution: Profane Existence, N.A.I.L., EFA (Europe).

MDR Records1920 N. Vancouver St. Portland, OR. 97227Phone: (503) 287-3975Fax: (503) 294-5021

Psycheclectic RecordsP.O. Box 8133 Portland. OR 97207 Phone: 503-295-2776 Web: www.psycheclectic.com Email: [email protected] Contact: William Weikart Artist roster: Garmonbozia, James Angell and Obscured by Clouds

Tombstone Records16631 SE 82nd Drive Clackamas, Oregon 97015 Mailing Address: P.O. Box 1463, Clackamas, OR 97015 U.S.A. Phone: 503-657-0929 Fax: 503-631-2797 Web: www.deadmoonusa.com Owners: Fred & Toody Cole Producer: Fred Cole Types of music released: MONO ONLY!! Mostly original garage and psychedelic, raw rock ‘n roll. Submission Formats: Tapes mixed down to 1/4” reel to reel. DATcassette or high-quality cassette. Kind of deals usually offered: We press mostly 45s, but can do LPs and CDs.Artist Roster: Dead Moon, Flapjacks, Spider Babies, Jr. Samples, 8 Ft.Tender, Hardship, Asthma Hounds, Deadbeat Hearts. Distribution: Get Hip, Revolver, Mordam, NAIL, Subterranean, Burnside Distribution (CD’s only).

Mastering

Freq Mastering1624 SW Alder Portland, OR 97205 Phone: 503-222-9444 Fax: 503-222-6446 Email: [email protected] Web: www.freqmastering.com

Nettleingham Audio108 East 35th Street Vancouver, Washington 98663-2207 Web: www.nettleinghamaudio.com Toll Free: 888.261.5086 Phone: 360.696.5999

Northstar Recording Studios313716 SE Ramona Street Portland, OR 97236-4444 Phone: 503-760-7777 Fax: 503-760-4342 Web: http://www.northstarsamples.com/studio/index.html

SuperDigital Ltd / Purple Mastering Studio1150 N.W. 17th Portland OR 97209 Phone: 503-228-2222 Email: [email protected] Web: www.superdigital.com Owner: Rick McMillen

Music Stores

Ape Over Music3909 Main StreetVancouver, Wa. 98663360.696.3100Fax: 360.696.3108Website: www.apeovermusic.comStore Hours: M-Th: 10-7 | Fri: 10-6 | Sat: 10-5 | Sun: 12-4 Apex Pro Audio and Lighting1274 Liberty St. NESalem, OR. 97303503.363.3555

Fax: 503.363.3791Website: www.apexproaudio.comEmail: [email protected]

Apple Music CompanyAddress: 225 SW First Ave., Portland, OR 97204 Toll free number: 800-452-2991Phone number: 503-226-0036 Web: www.applemusicrow.com Email: [email protected] Hours: Mon-Sat: 10:30- 6:30 | Sun:1- 5

Artichoke MusicAddress: 3130 S.E. Hawthorne Blvd., Portland, OR 97214 Phone: 503-232-8845 Fax: (503) 232-3476Store Hours: Tue-Sat: 11-6 | Sun: 12-5Web: www.artichokemusic.com Email: [email protected]’s Premier Folk Music Shop and Guitar Emporium

Beaverton Music Services, Inc.12630 SW 1st St. Beaverton, OR. 97005Toll free number: 887-643-5431Phone: (503) 643-5431

Blue Dot GuitarsAddress: 502 7th. St. Oregon City, Or 97045 Phone: 503.656.1913Web: www.bluedotguitars.com Email: [email protected] Hours: M-Th 11am - 8pm Fri & Sat 11am - 5pmWe are now Fender Authorized Warranty Service Center

Centaur GuitarAddress: 2833 NE Sandy Blvd. Portland OR 97232 Phone: 503-236-8711 Web: www.centaurguitar.com Email: [email protected] Store Hours: Daily 10:00am - 7:00pm

Five Star Guitars 2303 NW 185th Ave.Hillsboro, OR 97124in the Tanasbourne Village Shopping Center.voice: 503.439.9500fax: 503.533.2134http://www.fivestarguitars.comStore Hours: M-F: 10-7 | Sat: 10-5 | Sun: 12-5

Guitar Castle3439 State St. Salem, OR. 97301Phone: (503) 364-2757Salem’s Vintage Guitar Store

Guitar CenterGuitar Center Beaverton 9575 S.W. Cascade Ave. Beaverton, Oregon 97008Phone: 503-644-9500 Fax: 503-644-9600Manager: Gabe McFaddenStore Hours: M-F: 10-9 | Sat: 10-8 | Sun: 11-6Guitar Center Clackamas 13029 Southeast 84th Ave. Clackamas, Oregon 97015Phone: 503-654-0100 Fax: 503-654-0300Manager: Brian HarrisonStore Hours: M-F: 10-9 | Sat: 10-8 | Sun: 11-7

Joyful Noise Music Co.7705 SE Harmony Rd. Milwaukie, OR. 97222Phone: (503) 786-8742Web: www.joynoisemusic.com

Portland Music CompanyMartin Luther King Store 531 SE Martin Luther King BlvdPortland OR 97214 Phone number: 503-226-3719 Toll free number: 800-452-2991 Everything except sheet music, band and orchestra instruments. Web: www.portlandmusiccompany.comEmail: [email protected] Hours: M-F: 10- 6:30 | Sat:10- 6 | Sat:10- 6 Broadway Acoustic store: 2502 NE Broadway Portland OR 97232 Phone number: 503-228-8437 -Acoustic instruments, band and orchestra instru-ments. Web: www.portlandmusiccompany.com Email: [email protected] Hours: M-F: 10- 6:30 | Sat:10- 6 | Sun:11- 5Beaverton store: 10075 SW Beaverton Hillsdale Hwy Beaverton OR 97005Phone number: 503-641-5505 Toll free: 888-852-1557Phone for sheet music: 503- 641-5691 -All instru-ments and sheet music Web: www.portlandmusiccompany.com Email: [email protected] Hours: M-F: 10- 6:30 | Sat:10- 6 | Sun:11- 5Sheet Music Closed on SundayEastside, Division store: Address: 12334 SE Division Portland OR Phone number: 503-760-6881 -All instruments and sheet music Web: www.portlandmusiccompany.com Store Hours: M-F: 10- 6:30 | Sat:10- 6 | Sun:11- 5

Rhythm Traders’Address: 424 NE Broadway, Portland, OR 97232 Phone number: 503-288-6950 Toll free number: 800-894-9149 Web: www.rhythmtraders.com Email: [email protected] Hours: M-Sat: 11- 7 | Sun:12- 5

Showcase Music and Sound3401 SE Hawthorne Blvd. Portland, OR. 97214Toll Free: 888-240-4048Phone: (503) 231-7027Web: www.showcasemusicandsound.comEmail:[email protected]

Tigard MusicAddress: 11579 Sw Pacific Hwy, Tigard, OR 97223 Phone: 503-620-2844 Web: www.tigardmusic.com Store Hours: M-Th: 10-8 Fri-Sat: 10- 6

Wat’z Up Hillsboro Music Co.270 e main streetHillsboro Or 97123503-648-5241fax 503-640-1291www.hillsboromusic.com Ken & Kelly Scandlyn “music store with more” Store Hours: M-F: 10-6 | Sat: 10-5 | Closed Sunday

Weathers Music Corp.2825 Commercial St. Southeast Salem, OR. 97301Phone: (503) 362-8708Web: www.weathersmusic.com

Production

Brownell Sound12115 S.E. 82 nd. Ave. Suite D

Portland, OR 97086Toll Free: 800-755-1665 Phone: 503-652-2160 Fax: 503-652-2764Email: [email protected]: www.brownellsound.comHours: 9:00 am to 5:00 pm Monday Thru Friday

Hollywood Lighting5251 SE McLoughlin Blvd. Portland, OR 97202-4836 Toll Free: 800.826.9881 Phone: 503.232.9001 Fax: 503.232.8505Email Department ContactsRentals - Greg Eggen - [email protected] Production - Gavin D’Avanther - [email protected] Retail Sales - Dena Poer - [email protected] System Sales - Sean Chiles - [email protected] Electrical Services Frank Locke [email protected]: www.hollywoodlighting.bizShowroom Hours: Mon- Fri-: 8AM - 6PM Saturday 9AM - 1PM, Sunday Closed

Jamac Speaker Co.8600 NE Sandy Blvd. Portland,OR. 97220Phone: (503) 252-2929Web: www.jamacspeakers.comStore Hours: Mon-Fri 9:00 am to 5:00 pmSpecial late night hours on Monday: 7:30 to 9:00 pm

Mark McNeillLive Sound Engineer503.704.8130Text message: [email protected]: [email protected]

PowerMac Pac12310 NE Whitaker Way Portland, OR. 97230Toll Free: 800-460-8080Local: (503) 256-5210Web: www.powermac.comConsumer sales: [email protected] sales: [email protected] help: [email protected]

Pro Sound & Lighting3511 SE Belmont St. Portland, OR. 97214Phone: (503) 232-4889Web: www.prosoundonline.comStore Hours: Mon-Fri 10:00 AM to 6:00 PM Sat: 10:00AM to 4:00PM Portland’s #1 Sound and Lighting Company

Showcase Rentals3401 SE Hawthorne Blvd. Portland, OR 97214 Toll Free: 888-240-4048 Phone: 503-231-7027Rental Manager: Tim “TC” Chassaing Email: [email protected]: www.showcasemusicandsound.com/rent-als/rentals.htmHours: Monday through Friday: 10AM - 7PM Saturday 10AM - 6PM Sunday 11AM - 6PM

Soundguy ProductionsPO Box 68466Oak Grove, OR 97268Phone: 503-998-5420Web: www.prosoundguy.comSound system, audio/video rentals, on-site recording,some backline and lighting.

Publicity/Promotion

In Music We Trust PR15213 SE Bevington Avenue Portland, OR 97267-3355 Phone: 503-557-9661Owner: Alex Steininger Email: [email protected]: www.inmusicwetrustpr.comWe handle local (CD release shows, dailies/week-lies in hometown market), regional, and national press for bands, including print media, online, and blogs. Services also include bio writing, press releases, and other services, too.

XO Publicity1707 NE Jarrett St Portland, OR 97211 Phone: 503.281.9696Owner: Kaytea McintoshEmail: [email protected]: www.xopublicity.com www.myspace.com/xopublicity“A Damn Fine PR Firm”

Radio

AMKWIP - 880 am - “La Campeona” Format: Mexican music Street Address: 1405 E. Ellendale; Dallas, OR 97338 Mail Address: P. O. Box 469; Dallas, OR 97338 Phone: (503) 623 - 0245 Fax: (503) 623 - 6733 Web: www.kwip.com General Manager: Diane Burns Email: [email protected]

KISN - 910 am Format: Oldies Street Address: 0700 SW Bancroft St. Portland, OR 97239 Phone: 503.223.1441 Fax: 503.223.6909 Web: www.kisn910.com General Manager: Erin Hutchison

KPSU - 1440 am - Portland’s college radio Format: Portland State Univ. student radio Street Address: 1825 SW Broadway, Sub-Basement Suite S18, Portland, OR 97201 Mail Address: P.O. Box 751-SD. Portland, OR 97207 Phone: 503-725-5669 Fax: 503-725-4079 Web: www.kpsu.org Program Director: Austin Rich Email: [email protected]

KKAD - 1550 am - the music of your life Format: Classic American Standards of yesterday and today Street Address: 6605 SE Lake Rd. Portland, OR 97222 Phone: 503.223.4321 Fax: 503.294.0074 Web: www.kpsu.org General Manager: Paul Clithero Program Director: Steve Nicholl

FMKMHD - 89.1 fm - Jazz, Blues, and NPR News Format: Jazz StreetAddress: 26000 SE Stark St. Gresham, OR 97030 Phone: 503-661-8900 Fax: 503-491-6999 Web: www.kmhd.org General Manager: Doug Sweet Program Director: Greg Gomez

KBPS - 89.9 fm - All Classical Format: Classical

Street Address: 515 NE 15th Avenue, Portland, OR 97232 Phone: 503-943-5828 Fax: 503-802-9456 Web: www.allclassical.org Email: [email protected]

KBOO - 90.7 fm - Community Radio Format: providing programming for unpopular, controversial, or neglected perspectives Street Address: 20 SE 8th Avenue, Portland, OR 97214 Phone: 503-231-8032 Fax: 503-231-7145 Web: www.kboo.fm Program Director: Chris Merrick Music Director: Brandon Lieberman

KGON - 92.3 fm Classic Rock Format: Classic Rock Street Address: 0700 SW Bancroft St. Portland, Oregon 97239 Phone: 503.223.1441 Fax: 503.223.6909 Web: www.kgon.com Program Director: Clark Ryan

KNRK - 94.7 fm Alternative Portland Format: Alternative Street Address: 0700 SW Bancroft St. Portland, Oregon 97239 Phone: 503-223-1441 Fax: 503-223-6909 Web: http://947.fm Program Director: Mark Hamilton

KYCH - 97.1 fm Charlie FM, We play everything Format: Adult contemporary Street Address: 0700 SW Bancroft St. Portland, Oregon 97239 Phone: 503-223-1441 Web: www.charliefm.com

KUPL - 98.7 fm Format: Country Street Address: 222 SW Columbia Suite 350, Portland, OR 97201 Phone: 503-223-0300 Web: www.kupl.com Program Director: John Paul

KWJJ - 99.5 fm - the Wolf Format: Country Street Address: 0700 SW Bancroft St. Portland, Oregon 97239 Phone: 503-223-1441 Fax: 503-223-6909 Web: www.thewolfonline.com General Manager: Jack Hutchison Program Director: Mike Moore

KKRZ - 100.3 fm Z100 Format: #1 hit music station Street Address: 4949 SW Macadam Ave. Portland, Oregon 97239 Phone: 503-323-6400 Fax: 503-323-6660 Web: www.z100portland.com Email: from site

KUFO - 101.1 fm - the only station that really rocks Format: Hard Rock, Metal Street Address: 2040 SW First Avenue, Portland, OR 97201 Phone: 503-222-1011 Fax: 503.222.2047 Web: www.kufo.com

KINK - 101.9 fm - FM 102 true to the music Format: Album Rock Street Address: 1501 SW Jefferson, Portland, OR 97201 Phone: 503-517-6000

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eFax: 503-517-6100 Web: www.kink.fm General Manager: Stan Mak Program Director: Dennis Constantine Music Director: Kevin Welch

KKCW - 103.3 fm - K103 soft rock favorites Format: Soft Rock Street Address: 4949 SW Macadam Avenue Portland, OR 97239 Phone: 503-222-5103 Fax: 503-241-1033 Web: www.k103.com Email: from site Program Director: Tony Coles

KFIS - 104.4 fm - the Fish Format: Contemporary Christian music Street Address: 6400 S.E. Lake Rd, Suite 350, Portland, OR 97222 Phone: 503-786-0600 Fax: 503-786-1551 Web: www.1041thefish.com Program Director: Dave Arthur Music Director: Kat Taylor

KRSK - 105.1 fm - the Buzz Format: Rock Street Address: 0700 S.W. Bancroft St. Portland, OR 97239 Phone: 503-223-1441 Fax: 503-223-6909 Web: www.1051thebuzz.com Email: from site Music Director: Sheryl Stewart

KOOL - 105.9 fm - The Greatest hits of all timeFormat: Classic RockStreet Address: 4949 SW Macadam Avenue Portland, OR 97239Phone: 503-323-6400Fax: 503-323-6664Web: www.kool1059.comEmail: from site

KLTH - 106.7 fm - home of the 60’s & 70’s Format: Rock Street Address: 222 SW Columbia St. Suite 350, Portland, OR 97201 Phone: 503-223-0300 Web: www.khits1067.com Email: from site

Record Shops

Centaur GuitarAddress: 2833 NE Sandy Blvd. Portland OR 97232 Phone: 503-236-8711 Web: www.centaurguitar.com Email: [email protected] Store Hours: Daily 10:00am - 7:00pm

Crossroads Music3130 SE Hawthorne Portland, OR. 97214Phone: (503) 232-1767Email: [email protected]: www.xro.comStore hours: Mon-Thur: 11am to 6pm, Fri - Sat: 11am to 7pm Sun: 11am to 6pm

Everyday MusicAll stores open 9am ‘til midnight 365 days a yearWeb: www.everydaymusic.comDowntown1313 W. BurnsidePortland, OR 97209503.274.0961fax: 503.274.9831Eastside1931 NE Sandy Blvd.

Portland OR 97232503.239.7610fax: 503.239.1730Beaverton3290 SW Cedar Hills Blvd.Beaverton, OR 97005503.350.0907fax: 503.350.1966Seattle/Capitol Hill112 Broadway E.Seattle, WA 98102206.568.3321fax: 206.568.5114

Music Millennium3158 E. Burnside Portland, OR. 97214Phone: (503) 231-8926Fax: (503) 238-2020Web: www.musicmillennium.comemail: [email protected]

Music Millenium- Classical3144 E. Burnside Portland,OR. 97214Phone: (503) 231-8909Fax: (503) 238-2020Store Hours: Mon-Sat: 10:00 am to 10:00 pm, Sunday: 11:00 am to 9:00 pm

Ranch Records170 Liberty St. NE Salem, OR. 97301Phone: (503) 362-8515

Rehearsal Studios

Bongo Fury14181 SW Millikan WayBeaverton,OR. 97005503.970.0799Website: www.bongo-fury.comSafe and Secure- room storage with building monitored 24/7All music genres. Monthly and hourly rates.

Man In Black Studio503.309-2756Website: maninblackmusic.comEmail: from siteLocated in SW Portland off Interstate 5Monthly and hourly rates.

Rock Around The Clock PDX2329 NW 23rd PlacePortland, OR. 97210503.241.2609Website: rockaroundtheclockpdx.comEmail: rockaroundtheclockpdx@gmailcomHigh Tech Digital Security System, Double locking doors, Indoor drive-in dock with lift for easy loading.

Suburbia Studios623 SE Market St.Portland, OR. 97214503.736.9329503.309.4254Website: www.suburbiastudios.netEmail: [email protected] [email protected] Hour Access. On-site Security. Monthly and hourly rates

Repair

All Service Musical Electronics Repair(Formerly KMA Electronics)617 S.E. Morrison, Portland, OR 97214 Phone/Fax: (503) 231-6552 Toll Free: 1-888-231-6552 Email: [email protected] Website: www.all-service-musical.com Contact: Randy Morgan Services: Quality electronic service for musicians,

studios and music dealers. Factory authorized for most major brands. Hours: Mon: 9-4 | Tue-Fri: 9-6 | Sat: 10-4 Years Experience: 28+, over 20,000 repairs performed. Specialties: Service and repair of pro audio gear, guitar amps, keyboards, studio equipment, and home audio gear. From vintage to state-of-the-art. If you can plug it in and make music with it, we probably repair it. Clients: We have performed repairs for almost every music store in Portland and Vancouver. We have done work for dozens of national acts and many local artists. We have clients from coast to coast, but we like our local customers the most!

Bass Basses233 NE 28thPortland, OR. 97232Contact: Patrick MarshallPhone: 503.236.BASS 1.800.408.BASSWorkshop Specialty: Violins, violas, cellos, and upright bass.Offering restoration, rentals, repairs,sales and custom or traditional building.By Appointment please(very flexible)

Fearless Guitars5237 NE Sacramento Portland,OR. 97213Phone: (503) 287-3636Email: [email protected]: www.fearlessguitars.comOwner: Chance WalteServices: We specialize in custom wiring harnesses, pick-ups, repairs, boutique effects & more!Hours: Tue- Sat: 11-6

Inner Sound1416 SE Morrison Street Portland, Oregon 97214 Phone: (503) 238-1955 Fax: (503) 238-1787Toll Free: 1-877-238-1955 Email: [email protected] Speaker Repair: [email protected] Website: www.inner-sound.com Owner: Jay MoskovitzEstablished in 1978 Inner Sound is the largest audio service center in the Pacific Northwest. Five full-time technicians and a full-time office staff are ready to suit your repair needs. Services: Home Stereo, Professional Equipment, Car Audio

Portland Fret Works3039 NE Alberta St. Portland, OR. 97211Phone: (503) 249-3737

The 12th FretAddress: 2402 Se Belmont Portland, Oregon 97214 Phone: 503-231-1912 Fax: 503-231-0545 Web: www.the12thfret.com Email: [email protected] Hours: Tues - Fri: 10:30-6 | Sat:12-5Guitar repair, custom modification, complete restoration, and custom guitar building by master craftsmen and luthiers since 1979.

Jamac Speaker Co.8600 NE Sandy Blvd. Portland,OR. 97220Phone: (503) 252-2929Web: www.jamacspeakers.comStore Hours: M-F: 9-5Special late night hours on Monday: 7:30 to 9:00 pm

Tigard MusicAddress: 11579 Sw Pacific Hwy, Tigard, OR 97223 Phone: 503-620-2844Store Hours: M-Th: 10- 8 | Fri-Sat: 10- 6Certified Woodwind/Brass Repair Team

StudiosPlease check the studio listings at buko.net for the complete listing of equipment for each studio.

An Unreel WorldLake Oswego (503)639-9364 Email: [email protected] Owner: Karin Kopp

Bartholomew Productions33470 Chinook Plaza, Ste. 345 Scappoose, Or 97056 Website: www.bartpro.com Email: [email protected] Phone: 503-543-7664 Contact: Bart Hafeman

Big Red StudioCorbett, Oregon (25 min. E of downtown Portland) Contact :Producer/engineer: Billy Oskay Phone: 503-695-3420 Web site: www.bigredstudio.com Email: [email protected]

Blue Dog Recording1314 NW Irving Portland, OR 97209 Phone: 503-295-2712 Email: [email protected] Web: www.bluedogrecording.com Owner: Bruce Robertson

Ronn Chick Recording31209 NW 86th Circle Vancouver, Washington 98665 Phone: 360-571-0200 Owner/Engineer: Ron Chick

Crossroads Productions7708 NE 78th St. Vancouver, WA 98662 Phone: 360.256.9077 Email: [email protected] Web: www.crossroadsproductions.net Staff: Darren Bowls, Production/Artist Develop-ment.

Dead Aunt Thelma’s Studio7923 SE 13th Ave., Portland, OR 97202 Mailing Address: P.O. Box 82222 Portland, OR 97282-0222 Website: www.thelmas.com Email: [email protected] Phone: 503.235.9693 Fax: 503.238.9627 Mike Moore: Studio Manager/Head Engineer Nicole Campbell Peters: Assistant Studio Manager

The Doll House Digital Recording Studio2329 NW 23rd PlacePortland, OR. 97210818.987.7455Owner/Engineer: Federico “Fed” PolWebsite: rockaroundtheclockpdx.com

Don Ross Productions3097 Floral Hill Drive Eugene, OR 97403 Website: www.donrossproductions.com Email: [email protected] Phone: 541-343-2692 Fax: 541.683.1943 Contact: Don Ross

DIG Recording420 SW Washington, Suite 606 Portland, OR 97204 Phone: 503-243- DIG-1 Email: [email protected] Web: www.dig-recording.com

Falcon Recording Studios15A SE 15th Street Portland, Oregon 97214 Contact: Dennis Carter Phone: 503-236-3856 Email: [email protected] Web: falconrecordingstudios.com

Fleschtone RecordsNear Multnomah Village Phone: 503 349 7883 Web: www.davefleschner.com Email: [email protected]

Fresh Tracks Studio1813 S.E. 59th Portland, OR 97215 Website: www.freshtracksstudio.com Email: [email protected] Phone: 503.235.7402 Contact: Jon Lindahl

GoodJobStudio(IT’S YOUR MIX)NE Alberta ST Portland, Oregon 97220 Contact: Johnny Martin Phone: 503-422-1886 Email: [email protected] Web: http://goodjobstudio.com

Gung-Ho Studios86821 McMorott Lane Eugene, Oregon 97402 Web: www.gunghostudio.com Phone: 541-484-9352 Owner: Bill Barnett

Interlace Audio Production457 NE Birchwood Dr. Hillsboro, OR 97124 Website: www.interlaceaudio.com Email: [email protected] Phone: 503.681.7619

Jackpot! Recording Studio2420 SE 50th, Portland, OR 97206 Phone: 503-239-5389 Web: www.jackpotrecording.com Myspace: www.myspace.com/jackpotrecording Email: [email protected] Larry Crane-Owner, Engineer Kendra Lynn-Studio Manager, Bookings

Kung Fu BakeryTo Contact Kung Fu Bakery For informa-tion, booking, location and directions. Call 503-239-4939 Web: www.kungfubakery.com

Lion’s Roehr Studio5613 S.E. 69th Portland, OR 97206 Phone: 503-771-8384 Web: www.lionsroehr.com Email: [email protected] Owner: Mike Roehr

Lost StudiosWeb: www.lost-studios.com Email: [email protected]

MastanMusic Studio1028 SE Water Suite 230Portland, OR 97214Phone: 503.889.8646Web: www.mastanmusic.comEmail: [email protected]: Jeremy Wilson

Mississippi Studios3933 N Mississippi, Portland, OR 97277 Studio Phone: 503-753-4473 Web: www.mississippistudios.com

Momentum Studios109 SE Salmon St. Ste C Portland, OR 97214 Phone: 503.239.6983 Email: [email protected] Web: www.momentumstudios.com

Opal Studio6219 S.E. Powell Portland, OR. 97206 Phone: 503-774-4310 Email: [email protected] Web: www.opal-studio.com Owner: Kevin Hahn

Reynolds Audio Production/ Cool Blue StudioSW Portland (call or email for directions) Phone: 503-892-6268 Email: [email protected] Web: www.reynoldsaudio.com Contact: John Reynolds

September MediaPhone: 503.295.1277 Web: www.septaudio.com Email: [email protected] Engineer/producer: Craig Harding

Sound Impressions, Inc.1920 N. Vancouver Portland, OR 97227 Phone: 503-287-3975 Fax: 249-5021 Email: [email protected] Web: www.sound-impressions.com Owner: Dan Decker

SuperDigital Ltd / Purple Mastering Studio1150 N.W. 17th Portland OR 97209 Phone: 503-228-2222 Email: [email protected] Web: www.superdigital.com Owner: Rick McMillen

Venues

Aladdin Theater3017 SE Milwaukie Blvd. Portland, OR 97202Info line: 503-233-1994 Format: All styles (no punk) Booking: Mark Adler 503-234-9694 Email: [email protected] Manager: Tom Sessa Email: [email protected] Fax: 503-234-9699 Web: www.aladdin-theater.com Capacity: 620 Equipment: PA, lights Headliners: Brian Wilson (The Beach Boys), David Crosby (Crosby, Stills, Nash And Young), Richard Thompson, John Hiatt, John Prine, Beck, Emmylou Harris, Everclear, Roger Hodgson (Supertramp), Tragically Hip, Nils Lofgren (Crazy Horse/e. Street Band), And Indigo Girls.Warren Zevon, Ray Davies, Chic Corea, Keb Mo, Paula Cole

Alberta Street Pub1036 NE Alberta St. Portland, OR. 97211Phone: (503) 284-7665Format: Acoustic Music Venue - Non-smoking BarBooking: Please send a press kit, including CD and Bio to the Pub Attn: Kris Strackbein

Booking email: [email protected] It normally takes about 3-4 weeks to get to your presskit. Please do not attempt to book through MySpace. No phone calls pleaseCapacity: 150 Equipment: PA, mics, lights

Andina1314 NW GlisanPortland, OR 97210503.228.9535Website: www.andinarestaurant.comFormat: AcousticBooking: Contact Jels McCaulayCapacity: 150Equipment: ?

Artichoke Community Music- Backgate Stage Theatre3130-A SE Hawthorne Blvd. Portland,OR. 97214Phone: (503) 232-8845Web: www.artichokemusic.comEmail: [email protected]: Acoustic MusicBooking: [email protected]: 60Equipment: Renter provides all PA equipment

Ash Street Saloon225 SW Ash Street. Portland, OR 97205Bar Line: 503-226-0430 Fax: 503-227-2403 Format: Acoustic, Alt. Rock, Blues, Funk Booking: Heather Email: [email protected] Web: www.ashstreetsaloon.com Capacity: 350 Equipment: PA, mics, lights

Berbati’s Pan231 SW Ankeny Portland, OR 97204 Venue: 10 SW 3rd Avenue, corner of 3rd and AnkenyPhone: 503.226.2122 1) for a calendar of events 2) for location and directions 3) for booking 4) to reach a live human Fax: 503-417-4222 Format: All music Booking: Anthony Sanchez. Email: [email protected]: www.berbati.com Capacity: 500 Equipment: PA, lights Load-in: mid-block on 3rd Avenue betweenBurnside and Ankeny

Biddy McGraw’s 6000 NE Glisan StPortland, OR 97213503.233.1178Website: www.biddys.comFormat: Mainly Traditional American and Irish Music, some rock/funk/blues.Booking: contact Ezra Holbrook 503.233.1178 Press kits mailed to: Ezra Holbrook Biddy McGraws 6000 NE Glisan Portland, OR. 97213

The Buffalo Gap Saloon6835 SW Macadam Ave Portland, OR 97219Phone: 503.244.7111 Fax: 503.246.8848 Format: blue grass to pop RockFor booking a show send a promo kit to The Buffalo Gap Saloon C/O Booking 6835 SW Macadam Blvd. Portland, OR 97219 Booking: Matt Roley. Email: [email protected] Showcase/Open mic night inquiry Contact: Matthew Kendall Email: [email protected]

Web: www.thebuffalogap.com Capacity: 85 Equipment: PA, lights

Candlelight Cafe & Bar2032 SW 5th Portland, ORPhone: 503-222-3378 Fax: 503-223-8175 Format: Blues, Soul, R&BBooking: Joe Shore. Email: [email protected]: www.candlelightcafebar.com Capacity: 110 Equipment: PA, lights

Clyde’s Prime Rib Restaurant and Bar5474 NE Sandy Blvd. Portland, OR. 97213Phone: (503) 281-9200Web: www.clydesprimerib.comFormat: Jazz, Blues, and R&BBooking Clyde JenkinsCapacity: 100 Equipment: PA

Crystal Ballroom1332 W. Burnside Portland, OR 97209Phone: 503-225-0047 Format: All TypesBooking: Joe Shore. Email: [email protected]: www.mcmenamins.com Capacity: 1500 Equipment: PA, lights

Dante’s1 SW 3rd Avenue & Burnside Portland, Oregon 97204Phone: 503-226-6630 Fax: 503-241-7239 Format: Live music and cabaret 7 nights a week. Booking: Frank Faillace Email: [email protected] Web: www.danteslive.com Capacity: 400 with tables / 600 without tables Equipment: PA, lights

Devil’s Point Bar5305 SE Foster Rd Portland, OR 97206Phone: 503-774.4513 Format: Rock’n Roll Strip Club Booking: Frank Faillace Email: [email protected] Web: www.myspace.com/devilspoint Capacity: ?Equipment: PA, lights

Doug Fir Lounge830 East Burnside St. Portland, OR 97214Phone: 503-231.9663 Format: rock Booking: Unsolicited submissions from bands and DJs are always accepted by Doug Fir. Please send a CD and current press kit including photo and bio to: Booking Doug Fir Lounge 830 East Burnside St. Portland, OR 97214 Email: [email protected] Web: www.dougfirlounge.com Capacity: 299 Equipment: PA, lights

Fez Ballroom316 SW 11th Ave Portland, OR 97205Phone: 503-221-7262 Format: All music, DJs, Danceing Booking: Micheal Ackerman Email: [email protected] Email: [email protected] Web: www.fezballroom.com Capacity: 300 Equipment: PA, lights


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eGoodfoot2845 SE StarkPortland, OR 97214503.239.9292Format: All MusicBooking: Neil Email: [email protected]: ?Equipment: PA

Ground Kontrol511 NW CouchPortland, OR 97209503.796.9364Email: [email protected]: www.groundkontrol.comFormat: All Music and DJ’sBooking email: [email protected]: 179Equipment: PA, Lights

Halibuts2525 NE Alberta St. Portland,OR. 97211Phone: (503) 808-9600Booking: David MacKayFormat: BluesCapacity: 40 Equipment: PA and lights

Hawthorne Theatre1507 SE 39th Ave Portland, OR 97214Phone: 503.233.7100 Format: All music Booking Email: [email protected] All bands and artists looking to perform must submit a complete press kit. After mailing in your press kit/demo, please wait at least 1 week before emailing the booking staff. Please send a press kit that includes the following:Album or demo CD Band Bio – includes history, musical style and bio of members Press Kit Form (Adobe Acrobat .pdf format) Hawthorne Theatre attn: Management P.O. Box 42427 Portland, OR 97242 Club Email: [email protected] Web: www.hawthornetheatre.com Capacity: 600 Equipment: PA, lights

Jimmy Mack’s221 NW 10th Ave. (between Davis and Everett) Portland, OR 97209Phone: 503-295-6542 Format: Jazz Booking Email: [email protected] Web: www.jimmymaks.com Capacity: 140 + 40 SRO Equipment: PA, lightsHours Mon-Wed: 4pm-1am, Th-Sat: 4pm-2am, Sun: ClosedMusic begins at 8pm

Kells112 SW 2nd AvePortland, OR 97201503.227.4057 LaurelThirst Public House2958 NE Glisan Portland OR 97232.Phone: 503-232-1504 (not for booking calls) Format: Acoustic Roots Booking: Lewi Longmire Email: [email protected] Booking Phone: 503-236-2455 Web: http://mysite.verizon.net/res8u18i/laurelth-irstpublichouse/ Capacity: 100 Equipment: PA, lights

Matchbox Lounge 3203 SE DivisionPortland, OR 503.234.7844

Website: www.matchboxlounge.comhttp://www.myspace.com/matchboxlounge Format: All MusicBooking: Michael HuffmanEmail: [email protected]: 50Equipment: PA

Mississippi Pizza3552 N Mississippi Ave Portland, OR 97227Phone: 503-288-3231 Booking line: 503.888.4480 Format: All (No loud music residential neighbor-hood) Booking: Sunny. Send Promo Kits w/music To: Sunny/ Music Booking Mississippi Pizza Pub 3552 N. Mississippi Portland, OR 97227Booking Email: [email protected] Web: www.mississippipizza.com Capacity: 50-60 Equipment: PA

Mississippi Studios3933 N Mississippi, Portland, OR 97277Box Office: tues-fri 2-6: 503-288-3895 Format: Singer songwriter Booking Submissions: Mississippi Studios 3939 N. Mississippi, Portland, OR 97227 Booking: Caroline Email: [email protected] Manager: Jim Brunberg Email: [email protected] Web: www.mississippistudios.com Capacity: 100 Equipment: PA

Mt. Tabor Legacy4811 SE Hawthorne Blvd, Portland, OR 97215Phone: 503-232-0450 Format: Rock’n Roll Booking Email: [email protected] Web: www.mttaborlegacy.com Capacity: 600 Equipment: PA, lights

Ohm31 NW 1st Ave. Portland, OR 97209Phone: 503-241-2916 Format: Blues, Jazz, Acoustic, Pop, Alternative Booking Email: [email protected] Email: [email protected] Club Rental: [email protected] Web: www.ohmnightclubpdx.com Capacity: 250 Equipment: PA, lightsHours: Tue-Sat: 9pm - 2am All events 21+Office Hours: Mon, Wed, Fri 12:30pm-5pm

Produce Row Cafe204 SE Oak StPortland, OR 97214503.232.8355Website: wwwproducerowcafe.comFormat: All musicBooking email: [email protected]: 30-120 depending on time of yearEquipment: PA

Red Room2530 NE 82nd Ave Portland, OR 97220503/ 256.3399Format: All TypesBooking: We encourage performers to check out our booking blog and contact us through MySpace (prefered method)Email: [email protected]: 107Equipment: PA, lights

Ringler’s Pub1332 W BurnsidePortland, OR 97209503.225.0627Website: www.mcmenamins.comEmail: [email protected]: All Music and DJ’sCapacity: 305Equipment: PA, Lights

Rock’n Roll Pizza11140 SE Powell Blvd. Portland OR 97266Phone: 503-760-7646 Format: Rock Booking: Dave Email: [email protected] Web: www.rocknrollpizza.com Capacity: 500+ Equipment: PA, lightsAll Ages area with full bar for those over 21

Roseland GrillLocated in the lower level of the Roseland Theater 8 NW 6th Avenue Portland, OR 97209Phone: 503-224-2038 Format: All music Booking: David Leiken Email: [email protected] Web: www.doubletee.com Capacity: 400 Equipment: PA, lights

Roseland Theater8 NW 6th Avenue Portland, OR 97209Phone: 503-224-2038 Format: All music Web: www.doubletee.com Capacity: 1400 Equipment: PA, lights

Satyricon125 NW 6th Ave Portland, OR 97209Phone: coming soon Format: punk, hardcore, metal, indie music. Booking Email: [email protected] Web: http://beta.satyriconpdx.com Capacity: 450 Equipment: PA, lights

Someday Lounge125 NW 5th AvePortland, OR 97209503.248.1030 Format: All MusicBooking: [email protected] Sound Person: Ryan Olson(Morphed Pro-ductions)[email protected]: Equipment: PA, lights

Tonic Lounge3100 NE Sandy Blvd Portland, OR 97212Phone: 503-238-0543 Format: Rock Booking: Dave Gaysunas Email: If you want to book a show send us an email with a link to some music online to [email protected] Web: www.myspace.com/thetoniclounge Capacity: 215 Equipment: PA, lights

Tony Starlight’s Supperclub-Lounge3728 NE Sandy Blvd , Portland, OR 97232Phone: 503-517-8584 Format: Jazz, Dixieland, Vocalists, Swing, Big Band and Neil Diamond! Booking: Tony Starlight Email: [email protected] Owner: Tony Starlight

Web: www.tonystarlight.com Capacity: 75 Equipment: PA, lights

Trails End Saloon1320 Main St.Oregon City, OR. Phone: 503.656.3031Format: BluesBooking: Tom SnyderCapacity: 118Music: Wed-Sun.

Tug Boat Brewery711 SW Ankeny St. Portland, OR 97205Phone: 503-226-2508 Format: Jazz Owners: Terry Nelson and Megan McEnroe-Nelson Email: [email protected] Web: www.d2m.com/Tugwebsite/ Capacity: Equipment: PA, lights

White Eagle836 N. Russell St. Portland, OR 97227Phone: 503-282-6810 Format: Blues, Rock Booking Email: [email protected] Web: www.mcmenamins.com/index.php?loc=55 Capacity: Equipment: PA, lights

Wonder Ballroom128 NE Russell, Portland, OR 97212Wonder’s Mailing Address: P.O. Box 12045 Portland, OR 97212Phone: 503-284-8686 Format: All Music Booking & Advertising: Howie Bierbaum, General Manager - email from website Seann McKeel [email protected] Caroline Buchalter [email protected] Will Reischman [email protected] Web: www.wonderballroom.com Capacity: 778 open floor (550 if chairs are used)Equipment: PA, lights

Video Production

One Bad Cat MediaPhone: (971) 235-1282Web: www.onebadcat.comEmail: [email protected]: Paul Lawrence

Momentum Studios109 SE Salmon St. Ste C Portland, OR 97214 Phone: 503.239.6983 Email: [email protected] Web: www.momentumstudios.com

Video Media2580 N.W. Upshur St. Portland, OR 97210 Phone: 503.228.4060 Fax: 503.228.0619 Toll-Free: 888.578.4336 Email: from site Web: www.videomediaportland.com

Breakneck Betties

Megahurtz

Guitar - Fender J Mascis Signature Jazzmaster

Breakneck BettiesNext Game

June 21st

Guitar from

503-231-70273401 SE Hawthorne

Hair Stephanie Ponos

Make UpBriana

WHAT: HOME (Help Off set Medical Expenses), a benefi t for Duane JarvisWHY: Recently diagnosed with cancer, Duane is in need of fi nancial assistance.WHEN: June 12th, 2008 - Doors at 7PM, show at 8 PM- midnightWHERE: Wonder Ballroom, 128 NE Russell St. Portland, OR 97212PERFORMERS : Black Francis/Frank Black, Th e Odds, Billy Rancher’s Unreal Gods, Nvr Say Nvr (featuring Debo-rah Iyall), Jon Koonce and One More Mile, Willy VlautinEVENT WEBSITE: http://www.homeforduanejarvis.com

COST: $15 plus service charges or $30 plus service charges (this gets you access to after party, autographed photo, and souvenir laminate pass). All proceeds from this event will go to help with Duane’s medical expenses.

Th is is a 21 and over show with full bar and with food available at Wonder Cafe.

Tickets available Wednesday, May 14 at Wonder Ballroom Box Offi ce (Monday -Friday, 12-6 PM - cash only), Cafe Wonder (5 PM - 12 AM, Tues. - Sat., cash only) and Ticketmaster outlets:

Th is is a benefi t concert to help former Portland musician, Duane Jarvis, with medical expenses from recent cancer therapy. Duane and his brother Kevin Jarvis were founding members of Th e Odds, who along with Johnny and Th e Distractions, Quarterfl ash, Nu Shooz, Th e Clamtones, Sleezy Pieces, Billy Rancher and Th e Unreal Gods and so many others, made Portland in the 80’s an exciting music town.

Duane moved on to Nashville, where he has worked with Lucinda Williams as well as the likes of Frank Black, PF Sloan, Th e Divinyls, Dave Alvin, John Prine, Dwight Yoakum and recently, M.Ward and Peter Noone of Herman’s Hermits. Check out his myspacepage:

Duane currently resides in Los Angeles, but is looking forward to joining up with his fellow Odds, Kevin Jarvis, Jim Wallace and Ben Davis for a reunion performance at this event. It has been well over a decade since their last performance, and they are sure to hit the stage with the fi re that lighted up many of Portland’s legendary venues, i.e. Th e Long Goodbye, Sacks Front Avenue, Th e Last Hurrah, Earth Tavern, Luis LaBambas, and Key Largo to name a few.

Helping out to raise money for this worthy cause will be local singer/songwriter/novelist, Willy Vlautin, founding member of the band Richmond Fontaine.

Jon Koonce and One More Mile, playing from his critically acclaimed new CD, “It Can Never Happen Here.” Jon has been a fi xture on the Portland music scene for more than 20 years, since the Johnny and the Distraction days.

Debora Iyall of Romeo Void will be playing with her new Portland band, Nvr say Nvr, with Jim Wallace from Th e Odds on bass, wonderkind Mary Sue Tobin on saxes, Greg Paul on guitar and Steve Salmon on drums.

Billy Rancher’s Unreal Gods will bring Boom-Chuck rock to Wonder Stage, with original members, Jonny Du-Fresne, Alf Ryder Wolf, Dave Stricker, Billy Flaxel Gardner, and Billy Rancher’s longtime friend, Rick Galarneau...and of course Th e Goddesses a GoGo!

Last but not least, Black Francis/Frank Black - call him what you will - will round out the evening. Former front-man for the Pixies and Th e Catholics, he is one of the great indie rock icons of our time. Duane toured with Frank last year and he has graciously off ered to join us for this evening of music and fundraising.

Th is is one of those once in a lifetime shows that will showcase the great bands from Portland, musician friends of Duane’s from all over and a great cause!!! Don’t miss this one!!

HOME (Help Offset Medical Expenses),

a benefi t for

Duane JarvisJune 12th, 2008

Doors at 7PM, show at 8 PM till Midnight

Wonder Ballroom, 128 NE Russell St. Portland, OR 97212

PERFORMERS

Black Francis/Frank Black, The Odds, Billy Rancher’s Unreal Gods, Nvr Say Nvr (featuring Deborah Iyall), Jon Koonce

and One More Mile, Willy Vlautin

$15 plus service charges or $30 plus service charges (this gets you access to after party, autographed photo, and souvenir laminate pass). All proceeds from this event will go to help with Duane’s medical expenses.

� is is a 21 and over show with full bar and with food available at Wonder Cafe.

Tickets available Wednesday, May 14 at Wonder Ballroom Box Offi ce (Monday -Friday, 12-6 PM - cash only), Cafe Wonder (5 PM - 12 AM, Tues. - Sat., cash only) and Ticketmaster outlets:

� is is a benefi t concert to help former Portland musician, Duane Jarvis, with medical expenses from recent cancer therapy. Duane and his brother Kevin Jarvis were founding members of � e Odds, who along with

Johnny and � e Distractions, Quarterfl ash, Nu Shooz, � e Clamtones, Sleezy Pieces, Billy Rancher and � e Unreal Gods and so many others, made Portland in the 80’s an exciting music town.

Duane moved on to Nashville, where he has worked with Lucinda Williams as well as the likes of Frank Black, PF Sloan, � e Divinyls, Dave Alvin, John Prine, Dwight Yoakum and recently, M.Ward and Peter Noone of

Herman’s Hermits. Check out his myspacepage:

Duane currently resides in Los Angeles, but is looking forward to joining up with his fellow Odds, Kevin Jarvis, Jim Wallace and Ben Davis for a reunion performance at this event. It has been well over a decade since their last performance, and they are sure to hit the stage with the fi re that lighted up many of Portland’s legendary venues, i.e. � e Long Goodbye, Sacks Front Avenue, � e Last Hurrah, Earth Tavern, Luis LaBambas, and Key

Largo to name a few.

� is is one of those once in a lifetime shows that will showcase the great bands from Portland, musician friends of Duane’s from all over and a great cause!!! Don’t miss this one!!

www.homeforduane jarv is .com

www.homeforduane jarv is .com

Jenine de Shazer Images ©2006

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