Buko mag v1-n2 web

Transcription

Buko mag v1-n2 web

Volume 1 Number 2
Blues Fest
20th Anniversary
Blitzen Trapper
Publishing Deals:
An Overview
Inner-Vu
Featuring Billy Oskay
Curtis Salgado
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still kick’n ass
photo by Buko
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Read the complete
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Sept-Oct 2007
• Established 2007 •
by Buko Publishing
Fearless Leader / Graphics: Buko
Photos: Buko • Jeanne Galarneau
Writers: S.P. Clarke • Bart Day
• Johnny Martin • Keith Robert Laurent •
Mike D. Light • Ximena Quiroz • Anne Steiner
Moral Support: Jeannine Dawson
Printed by: Oregon Lithoprint
Buko Magazine
PO Box 13480 • Portland, OR 97213
text and photos by Buko
W
ell just a few of things. I must say I’ve had a
blast putting these mags together. I’d like to
remind everyone to go and support the advertisers in the
magazine. Without these people you wouldn’t be reading
this, and if you are not advertising you should be. This
publication is supporting the music industry in Oregon
and it can only continue with your support.
A
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school and summer programming including mentoring,
tutoring and enrichment with a partial college scholarship
after graduation for each child. They have affected over
850 Oregon students since 1990.
If you did not get a chance to attend the event but
would still like to donate and support this cause or be
a part of future events please call the “I have a Dream”
Foundation, 503-287-7203 and speak with
Development Coordinator Charlene Dahlen.
ugust 31st. 2007 was the day the
music died on NW 23rd. After 30
years in the neighborhood, the decision was
made to close down the NW 23rd and Johnson
Music Millennium store. Because of escalating
rent and a year of negotiating for a new lease,
Music Millennium was forced to look for a new
location. After months of looking for a new location, owner, Terry Currier, has decided that with
the state of the recorded music industry declining at such a rapid rate, he could not, with good
conscience, sign a long-term lease.
Terry Currier who has been here supporting local
music forever, finally introduced the last band to play at
the Northwest store, which was designed with a stage just
so bands could perform. The band who had the honor
of being the last to perform was none other than Floater.
After playing a few of their songs they ended the set with
a couple of covers, Elton John’s Rocket Man and U2’s
Seconds then it was over.
We still have the East side store so be sure to go
buy all your CDs there. The Burnside location also has a
wonderful history, let’s not lose this store as well.
Sarah Billings and Troy Williver of Led Foot Lil’.
ext I’d like to bring attention to a show I
attended on the 25th of August at the Wonder
Ballroom. The “I have a Dream” Foundation put on the
first ever TRACE benefit concert. There were feature
performances from Urban Arts Dance Company, Led
Foot Lil’ and the Patrick Lamb Band.
This year’s TRACE benefit concert will welcome
Rigler School’s 3rd graders into the foundation as the 10th
class. “I Have a Dream” Foundation – Oregon’s, 10-year,
year-round program seeks to ensure that Oregon children
from low-income families graduate from high school
prepared for college, meaningful employment and positive citizenship. They succeed by providing in-class, after
N
Buko.
“Excellence in sound since 1986”
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2 - Buko magazine Vol.1 No.2
Terry next to his empty shelves.
Pictured Musiclord Shortstack practice amp.
Floater performing Seconds.
Buko magazine Vol.1 No.2 - 3
People often speak of “publishing deals” in a generic way,
which implies that there is only one kind of publishing deal. In
fact, there are a number of different kinds of publishing deals.
But first, some historical background.
In the very early days of music publishing, songwriters
simply sold their songs to music publishers for a flat amount.
Later, as songwriters became more business savvy and gained a
little more negotiating leverage, a new kind of contract evolved,
consisting of three basic elements: (1) The songwriter would
assign all copyright ownership of the songwriter’s songs to the
publisher; (2) The publisher would have the right to try to get
the songs commercially exploited; and (3) The publisher would
agree to pay royalties to the songwriter based on income received
from third parties from any commercial exploitation of the songs.
clear at the outset, and defined in the contract, whether they are talking about
the combined music publisher/songwriter income from music publishing, or
just the music publisher’s own share of that income.
The Different Kinds of Deals
In short, the eight kinds of publishing deals today are as follows: (1) The
“traditional” Publishing Agreement; (2) Single Song Agreements; (3) CoPublishing Agreements; (4) “Step Deals”; (5) Administration Agreements; (6)
Income Participation Agreements; (7) Catalog Representation Agreements;
and (8) Sub-Publishing Agreements.
These eight kinds of deals vary from one to the other in many respects,
most importantly the following: (1) What percentage of copyright ownership,
if any, is given to the publisher; (2) What share of future publishing income
the publisher will get; (3) What functions the publisher will perform; and (4)
How long the agreement will remain in effect for.
For example, the first four kinds of deals mentioned above involve the
transfer of at least part of the copyright ownership of the songs. Not so, usually,
with the last four kinds of deals mentioned above.
Of the eight kinds of deals mentioned above, there will almost always be
one particular kind of deal that will be the most appropriate type of agreement
for a particular situation. By the same token, that same contract will likely
be totally inappropriate for many other types of situations. For example,
an Administrative Publishing deal might be the perfect kind of deal for one
situation, and totally inappropriate for a different situation. Therefore, I will
by Bart Day
Entertainment Attorney
outline below, for each type of deal, the kind of situations that each kind of deal
is particularly appropriate for.
(As a general rule, a songwriter today receives fifty percent (50%)
And now, a thumbnail sketch of each of the eight kinds of deals mentioned
of the total income from his or her songs.)
above.
Although that basic type of deal (which I refer to below as
the “traditional publishing deal”) still widely exists today, various
The “Traditional” Publishing Deal
newer kinds of “publishing deals” have evolved over the years.
First, of all, the term “Traditional Publishing Deal” is not a term customIncidentally, when I use the term “publishing deal” here, I’m arily used in the music industry. I am only using that term here for purposes
using the term very broadly, to refer to any kind of deal whereby of distinguishing this type of deal from the other types of publishing deals
some individual or company (other than the songwriter) obtains mentioned below.
the right to receive a share of the songwriter’s music publishing
1. Typical Scenario. As mentioned above, this kind of deal dates back to
income (for example, mechanical royalties from the use of songs the days of Tin Pan Alley. Today it’s used when a songwriter and a publisher
on records, public performance income from BMI and ASCAP for want to have a long-term relationship for all of the material that the songwriter
“
When some refers to “music publishing income,” it needs to be made clear at the
outset, and defined in the contract, whether they are talking about the combined music
publisher/songwriter income from music publishing, or just the music publisher’s
own share of that income.
”
radio airplay, and synchronization income from the use of songs
in films, television shows, computer games, etc.).
This ties into a more general issue, which is the haziness and
ambiguity often found in terminology relating to music publishing, which in turn makes it difficult for many people to really get a
handle on what music publishing is about, and also, why the loose
and ambiguous use in contracts of music publishing terminology
often leads later to legal disagreements and sometimes litigation,
with the parties disagreeing on how certain terminology in the
contract should be interpreted and applied. For example, when
some refers to “music publishing income,” it needs to be made
will be writing during the duration of the contract. This type of deal is usually
not used when the songwriter is signed to a record deal. (See “Co-Publishing
Deals” below.)
2. Material Covered by the Deal. This kind of deal will cover material
written during the term of the contract, and sometimes may include certain
specified songs written before the contract was entered into. Usually the contract
will require the songwriter to deliver a certain number of new original songs to
the publisher during each year of the contract.
3. Copyright Transferred. Normally, the writer is assigning (to the
publisher) 100% ownership of the copyright of the songs covered by the
contract.
4. Income Sharing. The publisher receives all income from third parties,
then pays the writer one-half of that income. The publisher here is getting a
larger share of the publishing income than in most of the other types of deals
mentioned below. That is because, in the case of this “traditional” kind of publishing deal, the publisher’s responsibility is to proactively promote the songs
involved and, theoretically at least, it is the publisher’s efforts that will cause any
future success of the songs. On the other hand, in the case of many of the other
types of deals involved, the publisher’s role is less promotional and proactive in
nature, hence the publisher gets a small piece of the pie.
5. Term. Normally, the agreement will be for an initial one-year period
(with the writer obligated to deliver a certain number of songs to the publisher
in that one year), then the publisher will have several (in the range of three to
six) consecutive one-year options following that initial one year.
Incidentally – and this is very important -- the “term” means the period
of time during which the songwriter is writing songs for the publisher, and not
how long the publisher will have rights in those songs. Normally even though
the term of the agreement may be only a few years, the publisher will be the
owner of those songs for a much, much longer period of time, i.e., until they go
into public domain many years later. (There is one exception here: If there is
a reversion clause in the contract, then copyright ownership may revert to the
songwriter at some future specified time.)
6. Advances. The larger established publishers typically pay a recoupable
advance to the songwriter for the first year (payable in installments), often in
the range of $25,000 to $50,000), then an additional advance each following
“
the same publisher.
Just to be clear here, I’m talking about a publishing deal with a publishing
company not affiliated with the record company. Today, it is much less likely
than it used to be that a record company will demand a publishing deal as part
of a record deal, though there are still some indie labels that still do so – for
example, some independent labels in the Christian music market.
2. Material Covered by the Deal. All of the original songs on the group’s
first record, then the publisher will have the right to options on the original songs
on anywhere from two to four of the follow-up albums, hence for a total of 3 to
5 albums, with the exact number depending on what the parties negotiate.
3. Copyright Transferred. The songwriter normally transfers one-half of the
copyright ownership to the publisher and retains the other one-half ownership.
In other words, the song is co-published (and the copyright is co-owned 50-50)
by the third party publisher and the writer’s own publishing company.
4. Income Sharing. Normally, the third party publisher will collect all
income and then pay to the songwriter and the songwriter’s publishing company
75% of all publishing income.
5. Term. As already mentioned, co-publishing agreements are usually for
a certain specified number of albums.
6. Advances. Advances are almost always paid to the songwriter in the case
of co-publishing deals. For groups newly signed to major label record deals,
the initial advance from a major music publisher is typically in the $150,000 $500,000 range and sometimes higher, with additional advances being paid if
and when the publisher exercises its options for the follow-up albums.
Of the eight kinds of deals mentioned, there will almost always be one
particular kind of deal that will be the most appropriate type of agreement for a
particular situation. By the same token, that same contract will likely be totally
inappropriate for many other types of situations.
year the publisher exercises its option to continue the contract for another year.
Normally the contract will contain somewhat complicated provisions for how
the amounts of the advances for the follow-up years will be calculated.
”
“Step Deals”
This type of deal is for situations where the songwriter is not yet signed
to a record deal, but may later enter into a record deal. The contract here will
The Single Song Agreement
provide, in effect, that the deal will be the “Traditional” deal mentioned above,
1. Typical Scenario. This type of agreement basically is based on the same but will automatically transform into a Co-Publishing deal if and when the
concept and structure as the “traditional” type of deal mentioned above, but songwriter is signed to a record deal.
involves only one (or several) of the songwriter’s songs (i.e., one or several
songs already written). Sometimes, a relationship between a songwriter and
Administration Deals (aka “Admin Deals”)
publisher will start out this way, and later they will enter into the “traditional”
1. Typical Scenario. This type of deal is used when the songwriter just wants
type of deal mentioned above.
a publisher to collect royalties and handle the various paperwork (for example,
2. Material Covered by the Deal. Even though the title of this kind of deal the BMI/ASCAP song title registrations, copyright applications, the issuance
would imply that it is only for one song, this kind of agreement is sometimes of licenses, etc.), and where the songwriter does not want or need a publisher
used for several songs at the same time.
to proactively promote his or her catalog of song. A good example of a company
3. Copyright Transferred. Same as with the Traditional Deal mentioned that does a lot of Administration Deals is Bug Music in Los Angeles.
above.
2. Material Covered by the Deal. Most often this kind of deal covers all
4. Income Sharing. Same as with the Traditional Deal mentioned material written by the songwriter, or at least any material that the songwriter
above.
has not already committed to other publishers.
5. Term. Same as the Traditional Deal mentioned above, but in the case
3. Copyright Transferred. No transfer of copyright (usually).
of the Single Song Agreement, it is much more likely that there will be a rever4. Income Sharing. Typically, the publisher will take 10% to 20% of the
sion clause. Typically the contract will (or, at least, should) provide that the income, and the pay the rest to the songwriter and the songwriter’s publishing
copyright ownership will revert to the songwriter if the publisher is not able to company.
get the song recorded by a signed third party artist or used in a film, television
5. Term. Administration deals are normally in the range of three to five
program, etc. within twelve or eighteen months.
years.
6. Advances. Often the publisher will refuse to pay an advance. However,
6. Advances. For catalogs generating a modest amount of income, usually
even when advances are paid, they are usually very small advances, typically in no advance is paid. For more profitable catalogs, usually an advance will be paid,
the range of $200 - $500 per song.
with the amount to be determined on the basis of the income that has been
generated in recent years by the catalog.
Co-Publishing Deals (aka “Co-Pub Deals”)
1. Typical Scenario. This type of agreement is typically used for writers
Income Participation Deals
who are in groups already signed to a record deal. This type of agreement covers
1. Typical Scenario. This type of deal is a “publishing deal” only in the sense
the original material on the group’s records. Normally all of the members of that it involves a share of future publishing income. Usually this type of deal is
the group who are songwriters will be signed to this type of agreement with used to cut someone in on a share of the publishing income – for example, to
serve in effect as a “finder’s fee” for having found a record deal for a songwriter.
Very often the “income participant” is not even a publisher.
2. Material Covered by the Deal. Highly negotiable and varies widely. May
only cover, for example, the material on the songwriter’s first album.
3. Copyright Transferred. No share of copyright is transferred. Instead the
“income participant” is only entitled to receive a share of income.
4. Income Sharing. Varies widely, but often is in the range of 10% to
15%.
5. Term. Again, highly negotiable and varies widely.
6. Advances. No advance is involved.
By: Keith Robert Laurent
Catalog Representation Deals
1. Typical Scenario. This type of deal is used when a songwriter or publisher
is primarily interested in getting their material used in films, television programs,
etc. and want to enter into a deal with a company that specializes in doing so and
has all the necessary connections. Usually that same type of company will also
represent record labels that want to get their masters used in films, etc.
2. Material Covered by the Deal. Typically, as the title “Catalog Representation” would imply, the songwriter or publisher’s entire catalog. But sometimes
the Catalog Representation company will “cherry-pick” only certain songs for
representation.
3. Copyright Transferred. No copyright is transferred.
4. Income Sharing. Typically in the range of 25% - 50% of the income from
any deals secured by the Catalog Representation company.
5. Term. Often in the range of two to three years, but sometimes longer,
sometimes shorter.
6. Advances. Usually no advance is paid, but there are occasional exceptions.
O
ne of the biggest “goodwill events” in the country, the largest festival
west of the Mississippi river, and the second largest blues festival in
the nation, for the past 20 years Portland, Oregon’s Waterfront Blues Festival has
assembled talents from all groups. It’s not just the visible performers who take the
stage that make the festival work. The reality is thousands of volunteers, sound
techs, stagehands, lighting techs, food and beverage vendors, security, all the sponsor groups, their directors, and the festival coordinators together, pull off this feat.
When you’re hosting an event that draws more than 100,000 people during a four
day run in your city, you really need the support of your community. Support is
what Portland has to offer.
Support has been at the heart of the event from the
very first festival. In 1987 when local blues
bands gathered in Waterfront Park,
the event was titled the
“Rose City Blues
Festival”.
Sub-Publishing Deals
1. Typical Scenario. This type of deal is between a U.S. publisher (including
songwriters who act as their own publisher), on the one hand, and a foreign
publisher, on the other hand. For a cut of the income in the applicable foreign
territories, the foreign publisher will collect the income in those territories.
U.S publishers enter into this kind of deal in order to receive their money
faster from foreign territories and also to collect more of the income that has
been earned in those foreign territories. (Often, for various reasons, only part
of the income earned in foreign territories is actually collected. The money not
collected is customarily referred to as “black box money.”)
2. Material Covered by the Deal. Usually the entire catalog.
3. Copyright Transferred. No copyright is transferred.
4. Income Sharing. The foreign sub-publisher will normally take in the
range of 25% of the income off the top, then pay the balance to the U.S. publisher. The percentage taken by the sub-publisher will be significantly less for
large, profitable catalogs.
5. Term. Usually in the range of three to five years.
6. Advances. Same situation as with Administration Deals.
Note: Bart Day is an entertainment attorney in private practice and outside
music counsel for Universal Games, the computer games unit of Universal Studios.
He is also VP of Legal and Business Affairs for Media Creature Music, a Los Angeles
music publisher and catalog administration company.
Bart is the co-author of a chapter (entitled “Contracts and Relationships between
Major Labels and Independent Labels”) in The Musician’s Business and Legal Guide,
a book compiled by the Beverly Hills Bar Association and published by Prentice Hall
Publishing (New York). From 1998 to 2002, he was an elected member of the Board
of Governors of the Pacific NW Chapter of the Recording Academy (presenter of the
Grammy Awards).
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.
Delmark Goldfarb receives an
award for starting the Blues Festival
in 1987, before his performance at
this year’s festival (2007).
The dream of having a free festival for
the city was Delmark Golfarb’s idea. Prior
to 1987, the city’s Waterfront Park was used for picnicking; however, you could get a permit and have your
wedding there, too. Goldfarb at the time was teaching a
class at Portland Community College on the history of
the blues. Along with his friends and associates, they all
started raising families. Now with children, opportunities to go out to the clubs around town to hear the great
blues music being played were limited. Goldfarb put his
idea of a free festival in Portland into action. While he was teaching his
class, he would introduce the students to the blues by having the local
blues artists visit the classroom.
Getting to know the musicians, Goldfarb shared his idea. He
wanted to create an event that would be free to all and support those
with less. He also wanted to create an event that you could take your
kids to, even your mom and dad. He wanted to see blues bands at the
river. Putting together all these elements and the purchase of the $25.00
permit, the dream was born. Word of mouth was the driving force. With no
advertising budget to speak of, Goldfarb organized the musicians to take
the music out to the schools and hospitals to promote the blues. Blues
Week was launched. To emphasize to the community the plight of the
hungry and homeless, Hillsboro based pizza chain Papa Aldo’s sponsored
a free pizza party for the homeless in Portland in conjunction with the
Blues Week. With the programs called “Blues in the Schools” up and
running, local TV stations and newspapers started to cover the story. The
media coverage gave the helpful spark to ignite the first free event called
the “Rose City Blues Festival.” With word of mouth, volunteers pitched
in to make the event a reality. With support of vendors and another of
continued on page 8
photo by Buko
Golfarb’s creations, the Cascade Blues Association,
all the donations went to benefit the Burnside Community Council’s projects for the homeless, or known
at the time as Baloney Joe’s.
Befriending legend Fritz Richmond, considered
the foremost washtub bassist in the world and also
the most successful professional jug player, Goldfarb
tapped into Richmond’s other skill, recording. Richmond had worked as a recording engineer for many
artists, and his credits can be found notably on albums
by, Warren Zevon, Bonnie Raitt, The Doors, and Jackson Browne. Richmond, who was living in Portland,
engineered the first recording of the festival. On that
1987 recording entitled “Rose City Blues Festival - The
Album”, Michael Burgess wrote: “A day in July. A park
on the river. A guest list of 20,000. The Rose City Blues
Festival. Happy birthday, blues. An event that put a
few new colors in Portland’s musical paint box. For
eight solid hours, ten homegrown blues bands filled
Waterfront Park with a truly startling cross-section of
citizens. All of them smiling, most of them stomping
their feet, a few of them spilling their beer. It was the
gig one prays for but never really expects. This time
the magic worked. Nothing in music is truer than
this: If the blues don’t make you feel better, you are
probably dead. Anthems of suffering and heartbreak,
unspeakable anguish laced with endurance, pride and
triumph. The fun things of life in a rock-bottom musical
format, like it or not, is going to make you dance. The
1st Annual Rose City Blues Festival. Happy birthday,
Portland. Happy birthday blues.”
Well Mr. Burgess, this “rock-bottom music” has
made the folks of Portland and the world dance alright,
not only dance, but raise hundreds of thousands of
pounds of food and hundreds of thousands of dollars
a year to now fight hunger.
Goldfarb’s message of a free festival had opened
the eyes, ears, and hearts of the people of this city and
beyond. His love for the blues moved him to Memphis
to work with the Blues Museum for a while. Now back
in the area, Goldfarb is still working on music projects.
Currently involved with “Give Us Your Poor” / The
campaign to end homelessness, whose mission is to
create a revolution in public awareness, dispel myths
and inspire action towards ending epidemic homeless in the United States. He is participating on a CD
project, which is an eclectic collaboration involving
homeless musicians and celebrity artists (such as singers Bruce Springsteen, Natalie Merchant, Jon Bon Jovi,
Dan Zanes, Jewel, Pete Seeger, actor Danny Glover,
Madeleine Peyroux, Buffalo Tom, Sweet Honey in
the Rock, John Sebastian, Sonya Kitchell, and actor
Tim Robbins), which is being produced and released
by Appleseed Recordings. He will also be featured
in a film to be released about jug band music called
“Chasin Gus’s Ghost”. Others in the film include John
Sebastian, Bob Weir, Taj Mahal, Geoff Muldaur, Jim
Kweskin and Fritz Richmond to name a few. Goldfarb
can still be found performing around the region. If
you get a chance to shake his hand, thank him for the
Blues Festival.
In 1991 the festival name was changed to what
we now know as the Waterfront Blues Festival. To the
photo by Buko
Norm Eder, the food Banks
official photographer. 2007
photo Jeanne Galarneau
2007 totals from the Waterfront Blues Festival.
Bob Ancheta. 2007
Savoy Brown. 2007
Portland Spirit, cruisin’ with the blues.
photo by Buko
Jon Koonce tribute to Fritz Richmond. 2007
Below; Ellen Whyte and Duffy Bishop unplugged. 2007
photo by Buko
Jim Mesi (above) and Steve Bradley (right)
2007, also starred in the documentary
film “The Losers Club”(2004) Filmed and
directed by Pierre Oullette.
photo by Buko
Above; Pinetop Perkins celebrated his 94th birthday on
stage at the Blues Festival. 2007
photos Jeanne Galarneau
Right; Tim Rutter takes a break to read Buko mag.
photos by Buko
Above; Tim Rutter goes over schedule with crew.
Left; Bill Phillips talks to the Texas Horns before
they go on stage. 2007
photo by Buko
photo by Buko
photo by Buko
Dr. John. 2006
photo by Buko
Above; Paul deLay Memorial Allstars 2007. Right; Paul deLay’s
last Blues Festival performance with Duffy Bishop 2006.
photo by Buko
photo by Buko
Liv Warfield, she gets better
everytime I see her. 2007
photo by Buko
Mavis Staples. 2007
photo by Buko
Kolvane of the Rose City Kings. 2007
photo by Buko
The Blind Boys of Alabama. 2007
photo by Buko
Richard Berry the man who penned Louie Louie
sings his song at the 1993 Blues Festival.
familiar two-stage format, an additional Front Porch
stage was added in 1999, and in 2002 the Ethos stage
was added. Also added was the Delta Music Experience Blues Cruises. Cruise the Willamette River on
the Portland Spirit and hear legendary blues artists
perform on the boat’s three intimate stages. This year,
nine cruises were held during the festival; four during
the day and five in the evening. With more stages comes
a need for more music, and with more music, comes a
need for more equipment and more people.
I had the opportunity to speak with a number of
folks involved with the festival.
For 17 years Bill Phillips has been behind the
scenes of the stages. Starting out in 1990 as a stage
manager, he has been the overall production manager
since 1995. Phillips coordinates everything to do with
the stages including the bands’ gear, the sound and
lighting companies schedules’, instrument and amplifier needs, the volunteer crew, and the performance
schedule.
Keeping the show working on time is a task by
itself. At one show years back, the performer, Guitar
Shorty, was exceeding his scheduled time and was
really getting into his performance. Phillips had to
step in and do something. Trying unsuccessfully to get
Shorty’s attention and knowing a little about music,
he realized that after the guitar solo was his chance
to act. “Coming out of the guitar solo, Shorty, does
a front flip and lands on his feet, and as soon as he
landed, I grabbed the microphone and to the crowd
yelled ‘ladies and gentlemen, Guitar Shorty!’ Shorty
got the message and ended the song knowing his time
was through.”
Phillips looks forward year after year to the festival. “Once a year this event is about friends and family,
not about money; it’s about sharing your resources
and talents to benefit others.” Backstage, a sign has a
message for all; “no attitudes or egos, the show is out
front”. As this twenty-year milestone approached, Phillips recalled chatting with some buddies, wondering
how they got the right equipment to the right location,
meeting the bands hospitality needs and communicating with the stage and light crews before cell phones
and e-mail? Good question.
In the early days as it is today, hard working,
dedicated people drive the festival.
Festival Coordinator for the past 20 years, Clay
Fuller oversees all aspects of the event. With his responsibilities ranging from obtaining permits, finding sponsorship, site planning, promotions, and including clean
up, Fuller enjoys his work. Fuller explains, “when you
have a site as wonderful as Waterfront Park, a donation
and fund-raiser based event as the Waterfront Blues
Festival, and the support of the community and local
musicians, it really makes my job enjoyable.”
Finding the talent, another major part of the
festival is a task in itself. Thirteen years ago, Peter
Dammann became the festival talent coordinator and
was responsible to retrieve the services of some 40
acts. That number has grown to 135 groups of talent.
Dammann covers all the details of booking hotel
rooms, limos from the airport, maps, making sure the
right equipment needs of each artists are fulfilled, and
Lurie Bell. 2007
Brian Auger. 2007
putting together performance schedules while taking in to account the arrival and
departure schedules of all acts. Finding the artists and contracting them to perform
is also his challenge. From courting of the headline acts, working with other West
Coast festivals to coordinate artists’ schedules, to searching out talent from places
like the New Orleans Jazz Fest, Dammann enjoys the organizational challenge.
He relates the challenge to organizing a big museum exhibit or working on a 3-D
puzzle to completion. “A great part is watching the festival unfold as it goes from an
Excel spreadsheet to a live event.” Over the years performers from local blues men
to international stars have graced the Waterfront Blues Festival stages. All of these
shows are presented in the spirit of the unwritten brotherhood of the blues.
Oregon Food Bank is the benefactor of The Waterfront Blues Festival. The
Oregon Food Bank mission: “to eliminate hunger and its root cause…because
no one should go hungry,” is indeed an undertaking that has stirred the souls of
those who live in the Portland area. Local residents and others from around the
region pitch in. Volunteerism is alive and well. Jean Kempe-Ware, Public Relations
Manager, says everyone is working together. Thousands of people step up and
spend endless energy and time to make the organization work. Volunteers handle
everything from greeting blues fans and collecting donations to packing thousands
Left; Charles Neville.
Below; Aaron Neville. 2007
of pounds of donated cans into boxes. One Blues Festival volunteer’s comments
sum it up; “I love the sense of community that is fostered by events like this. It
gets people together from all walks of life to share something really positive.” All
gate receipts and food donations go directly to the Oregon Food Bank. Last year’s
total donations recorded were, $545,000 and 103,500 pounds of food. Oregon
Food Bank is the hub of a statewide network of 894 hunger relief agencies serving
Oregon and Clark County, Washington. The Oregon Food Bank also recovers food
from farms, manufacturers, wholesalers, retailers, and individual and government
sources. Last year 60.8 million pounds of food was distributed from the Oregon
Food Bank Network to people in need.
The goodwill of people from all walks of life drive this wonderful event.
Charity and great music blend, as it should. Smiles abound from all those involved;
smiles that can be visually seen, to the smiles that can be heard in the voices of the
organizations putting it all together. Not to be forgotten, the smiles of those whose
hunger is satisfied. Take note that 20 years ago, an idea was born with a great goal
in mind. This event has grown into an international gathering, a national award
winning Blues Festival, and an avenue to support those with less. If you didn’t
know what’s been happening in the last 20 years behind the scenes, I hope this
helped. If you have gone to the Waterfront Blues Festival, stand up and give yourself a hand. If you have ever supported any of the organizations that help create
this festival, give yourself a hand. Everyone applauding knows that the Portland
Waterfront Blues Festival has its own wonderful history, an abundance of inspired
and creative hard workers, and above all, great music. This, to me, is 20-years of
history, hard work, and fun.
Eric Burden and the Animals. 2007
photo by Buko
B
illy Oskay is a serious professional with a good attitude and a ton of
musical experience in all facets of the industry. The sounds coming out
of Big Red studio are nothing short of amazing. There are plenty of good studios
in Portland, but you’ll have to drive 30 minutes or so to reach this location, where
world-class artists record and musical ideas become bigger than life. It’s obvious
right away that huge hits have emanated from this Trident console, and that Billy’s experience
keeps those faders moving.
Thanks for letting me come
out Billy. How long have been
making your services available
here at Big Red?
Big Red opened in 2000, but I’ve
been recording in the Portland
area since the early eighties. I had
a small studio when it was fashionable to go to the big studio
to make recordings.
trends which is a highly compressed sound and very compressed reverb, or you can
go for the sound where the artist is actually “there” for example.
Do you feel that some mic pre’s have an artificial top etc?
I would put it that with pre’s, there’s a clean or a colored. Sometimes a pristine
preamp is sterile, in that it might be measurable by equipment, but may not
sound very nice to our ears, which are not flat instruments.
When we hear sound there’s an emotional response. A recording may
sound like a recording, and a live performance has that visual connected
to the sound.
Oh yes, and people listen with their eyes
Yeah, there is sort of a psycho-acoustic property to it.
How did you come up with the funds to build Big Red?
I put myself in debt for the rest of my life. (laughter)
The goal of the studio?
We want to either be classic, or create trends.
I guess your gold record was sort of ahead of the curve and…?
Did you name it?
Yeah- I like to be ahead of the curve, but at the same time we have the ability to
It was called Night Noise Studio, after
get natural, real and warm with the Studer 2” 24 track, that’s a huge, huge sound.
the band I was in on the Windam Hill
But then we also have full-on Pro Tools, and sometimes do a blend.
label. The studio kind of grew out of the
band and the band out of the studio.
We were doing acoustic music and the first recording I made actually turned out Do you ever listen to your first demo reel?
Well, yeah cause my first demo reel ended up going to 28 countries. But I do listen
to be a gold record.
to my early recordings.
Really? Wow, congratulations !
Yeah, pretty wild. Our first album was called Night Noise, and then we named the Do you have time for experimentation?
Yes, depending on the project. It really is up to the client.
band after that.
And is it only guys that work here or is it Bob Stark and cats like that?
Exactly, we’ll have different people come out and do a shoot-out.
It’s a good way to check all these positive reviews you read.
Studios are under pressure because everyone’s gear-driven and you’re not sure what
to get etc. What you need are good performances and someone with experience
behind the board. Someone efficient, who can guide an artist or actually produce
if needed. We also have well-known acts come thru on tour and use
the room.
Do you find that forums can be good for that? Because guys sometimes
list their gear, and you get a sense of their level of knowledge?
It’s getting better- yeah. You’ve got to do a lot of research. I’ve been
looking for a pair of Neumann 88 mics for three years. They’re one
of the fastest mics ever built and beauty of the sound that comes out
of them is unbeatable.
“
It’s a precursor to the 84?
No, it was a different kind of microphone.
”
What type of music have you yet to record? You have a lot of experience so this might be interesting…
Hmm… I’ve never recorded heavy metal.
Wow, that’s great! That’s a surprise.
It’s interesting because there’s been, over the last seven years, I’ve had
people come in and say even though you may not have recorded our
genre, we love the room. So I’ll study up on the engineering style
and that will work.
Good move! Now was that world music?
You might say, we had kind of a jazzy Irish-flavored chamber music, and nobody
could quite put their finger on it. It had it’s own niche, it’s own feel, it’s own vibe.
And I try to carry that on here at Big Red, in that I’ve never felt like following trends,
I’d much rather create them.
Do you have a morning routine?
(laughter)Try to sleep as long as I can.
Are you still learning something every session?
Every session.
He builds beats etc. and is “ahead of the curve”?
Very much so.
Oh that’s good, because one of my questions was – what’s your approach here at the
studio, but I think that answers that.
Yeah, we have sort of a blend. It’s interesting now because I’m working more
with independent engineers. Some independent engineers just love using this
as a tracking room and come and rent the room, basically because we have a
wonderful room with great acoustics and wonderful gear. So what happens is we
have anything from a classic sound , using tube electronics- to the latest virtual
instruments and Pro Tools.
What did you learn on your last session?
How to mix something on the Pro Tools full-on HD XL system. I’ve done maybe
20 or 30 albums live to 2 track, but then we were using DP (digital performer) at
the time. We’ve gone further by getting exotic converters, some of the best in the
world.
Unlike what I read- I love my Auratones. Do you find yourself using them a lot?
Yeah, I can’t tell you how many mixes I’ve done on them. I still balance my mixes
on Auratones. I look to the larger monitors for eq etc.
A lot of good friendships have been
forged here...its own niche, its own feel,
its own vibe.
Yeah you have great ears.
Well, the other thing is I’m working with Nick Moon, a wonderful young producer
and Craig Brock, who will come up from Austin and work as well.
He cut his teeth at the Record Plant. I also have a young engineer Zack Myers, who
is very edgy and if you need a hip-hop track he’s your man.
You went beyond Apogee?
Yeah, we have Mytek, and they are just wonderful converters.
We have a couple by Digidesign. Their D/A’s are quite good.
As an aside, about once a month I’ll get together with other engineers and producWould you say you capture more of a natural sound as opposed to pristine?
Pristine I think of as extremely clean, and natural is what sounds like the real thing. ers and have a listening night.
There’s two ways you might look at a singer-songwriter. One is you can follow the
Now does that happen here at Big Red?
Yeah
amp to Crown Studio Reference 2. And then I have Auratones powered by
Hafler.
photo courtesy Big Red Studio
That was my next question- what do look for in each?
If I’m mixing I’m going between Auratones, my main monitors and headphones.
I’m looking for different things. If I’m going for details of images left to right, I may
go to headphones. Monitors are a big area. There’s no answer to that. You just have
to get to know your monitor and how it translates to the real world.
Can you share a moment that elevated your engineering skills?
Hmmm…I never went to engineering school, so I’d say I’ve learned by doing, reading and working with other engineers. There are accidents along the way because
Do you have current favorite preamp that you’re really digging right now?
Yeah, my favorite right now is a sidecar I just bought which is a hand-wired clone you’re always experimenting.
of api 550 eq’s and preamps. It was taken out of an old hand made console from There’s something about recording that’s intangible in that you can have the same
mic set up for eight tunes and one of the tunes doesn’t sound as good and you
1980.
haven’t moved a mic.
Will you be using that for everything or mainly drums or…?
No, certain things. Vocals and possibly drums. My classic Trident board here has 40 Oh, key of the song?
fantastic mic pres. It came out of the Automat in San Francisco, and has a history of It could be the key of the song, yes. There are sessions where money is no object,
hits from Starship, Santana, Herbie Hancock, Mariah Carey, Whitney Houston. in terms of spending a day getting a snare sound etc. But those sessions are more
rare with the internet and the labels hurting a bit.
Some bands can spend a day just getting levels and sounds, and other bands need
So the pres are good. It must be a really clean board too, how old is it?
1980. To me the best sounding preamp over-all are the ones from the Neve-Api- to get all 12 rhythm tracks done the first day.
In the end it’s the performance. It’s a luxury to come to a studio like this because
Trident category. They’re warm, they’re fat, they’re big and punchy.
then your chances of giving a great performance and having the palette available
But there are times that I will want a more clean preamp like a Millenia.
All preamps are colors, all microphones are colors. It comes down to, if you have to really capture and do something with it increase.
a great performance and you have somebody who’s putting their heart and soul
Do you find, obviously the better you capture it – the more options you have?
into the engineering, you’re gonna have something pretty cool.
Yes, exactly.
What do you monitor on?
Right now I’m using a KRK sub. An Audix Nile 5 and I just upgraded my
Any favorite plug-ins?
You started out recording just yourself or friends?
Just myself. I had a sound on sound Ampex ¼” reel to reel deck that you could DP has Masterworks EQ which is great. It’s an RTA five band EQ.
I think the AltiVerb is great.
bounce one track at a time with.
Anthony Jones at Big Red Studio.
Is there a part of your studio that you’re hoping to upgrade soon?
It’s a constant process like the new amplifier and the sidecar. In November it was
ProTools…before that the Studer 2”. My wish list is a mile long. I’d like to have a
fairly dead iso-room for vocals and/or amps. I’m going to paint the main room this
summer, I’m getting tired of the color.
Are there a few engineers you hold in esteem?
Clearmountain, Scheiner, there’s probably 5 or 6 maybe.
Name recording that just kills you
My favorite recording of all time is still Sgt. Pepper. I’m a member of NARAS
(Grammy) Academy and they had a summit and brought in Geoff Emerick who
was the main engineer for the Beatles. Not once did he mention what kind of mic
or pre used. But he was using things in new ways, and was experimenting each
and every session.
Where do you like to purchase gear from?
Anything from Ebay to local owner-owned. I don’t care for the corporate chain
stores etc.
Can you recommend any websites for information?
I follow a microphone forum that Klaus has. Rec-forums.prosoundweb.com
Klaus Heyne interview is there as well.
What’s your headphone mix system?
I have two. One is when we can get a compromise mix I have a Rane, and when
everyone needs individual mixes a Furman system.
Can you recommend any closed or open headphones?
I’ve been a fan of the AKG 240 for years. Sometimes a drummer will bring in a
closed pair or use earplugs and headphones.
It’s probably wise to have the same style pair through out the studio.
I have about 15 pair, yes. Most of the top studios I’ve been in have them.
How did you arrive at this location?
I lived in Portland from 1976 till 1992. In the late eighties I started meeting people
that lived out here east of Portland. Around 1991 I met Klaus Heyne, who is the What’s your oldest piece of gear?
top restorer and modifier of vintage microphones in the world. We became friends Probably the EMT plate.
and I started looking for property out here. In ‘92 I quit my band and remarried,
and the next year bought this space.
Does your studio have flexible hours?
Yeah.
Have you remodeled the studio at all?
No. This Russ Berger design sounded amazing from the first day.
Is there a mic you reach for quite often?
Probably the standard microphone that is the most versatile over the years is the
Name two pieces of gear you’ve got your eye on
U87.
(laughter) I would like an AMS classic reverberator RMX 16 for the “ambience”
preset. I’d like another eight tracks of Mytek converters.
What made you want to be an engineer?
I never wanted to be an engineer! (laughter) I was a violin picker, I went to music
school, got a masters degree. After that I taught college for a couple years, then I
ended up wanting to be a recording artist and I toured all over the world. While the
band was at it’s height, I was spending a third of the year recording my own band,
a third of the year touring, and a third of the year recording other people. This was
in my small project studio.
When I left the band I had all the gear and I wanted to improve how I was recording. I could record acoustic instruments and maybe drums, so when I got Big Red
built in 2000, I was a rookie engineer with three gold records.
I had produced some albums with other engineers at studios with large consoles
and I loved that. Then I out grew my space with all my gear etc.
And now I’m here with a classic console and the sound is absolutely beautiful.
Throw in a world class rapper, reggae, rock, jazz and independent producers, and
the studio takes on this dynamic vibe.
It keeps me moving and striving. Stretching is what it’s all about.
How do you approach mixing? Are you a build-the-drums kind of guy, or do you
pick the most important track?
You mean mixing a whole album?
Yeah- let’s say your tracking is done and…
Ok. Your best mixes are when you get into them. I might not take the best tune,
I’ll start with a more sparse track, something I can really get into the detail of the
bass & drums. I have an idea of my gain structure, but I’ll have to have an image
of what the mix should sound like. It has to do with the artist, whether they want
to create something new or go with a classic sound. What parameters do you have
to start with? That’s how you approach a mix. I tend to go for bigger-than-life,
rather than real.
So you might capture real, but then in the mix you create right? You’re an actual
player.
I let the sound hit me emotionally, and go from there.
In a session, do you find yourself being drawn into a producer role halfway
It looks like you could do Neumann’s fairly high for capture?
Yeah the ceilings go to up to 17 feet. By the way you’re pretty well prepared, that’s through?
I’ve done more projects as a producer and engineer than just an engineer.
cool.
So right from the get-go I’ll be involved, unless there’s a producer then my roll is to
please that person. At mix time I have to adjust my ears to what they are after.
Oh thank you. I love this stuff. I love recording.
Can you name a couple tracks that you use for comparative listening?
It depends on what I’m listening for. If it’s speakers, I might pull out Duets by So then during tracking you’re keeping your mouth shut?
Rob Wasserman. Very sparse tracks, some are live.. Good for depth and imaging, I hardly ever keep my mouth shut. But I generally have great relationships with the
and it gives me an idea where the bass is. If it’s bluegrass I would listen to Alison people I work with, and excellent luck with the artistry that’s come thru here. A lot
Krause. If I’m judging someone else’s control room I’d use Wasserman and my of good friendships have been forged here.
own productions.
Well you give them something back that they are always grateful to you for. But still,
it’s a touchy thing- it’s very personal “this is my song man!”
What’s your current back-up system?
Absolutely, absolutely. there’s a great deal of psychology that goes into it.
I back up to multiple drives for each project, then also DVD.
Have you had luck with any local mastering houses?
I use four or five mastering engineers, Bernie, Stubblebine, David Glasser etc.
Whatever is going to translate to the most systems. Freq Mastering in town is good,
Ryan has done some great work.
Big Red Studios is a great tracking room for independent engineers or musicians
who are studio-savvy. They also provide a service for smaller studios and an excellent room for young engineers to hone their chops.
www.bigredstudio.com
“
Your best mixes are when you get into them. I might not take
the best tune, I’ll start with a more sparse track, something I can
really get into the detail of the bass & drums. I have an idea of my
gain structure, but I’ll have to have an image of what the mix should
sound like. It has to do with the artist, whether they want to create
something new or go with a classic sound. What parameters do you
have to start with? That’s how you approach a mix. I tend to go for
bigger-than-life, rather than real.
”
by SP Clarke
“
Band mastermind
Eric Earley
‘plays everything
a
God’s Own Bard.’ nd is basically
It
Earley pretty mu is reputed that
ch
album by himself, recorded this
in
railroad car/mak his abandoned
eshift studio, or
some such.
”
Wild Mountain Nation- Blitzen Trapper
Lidkercow Ltd.
Blitzen Trapper are, or should be, the darlings of the Portland music scene.
They have become the darlings of Pitchfork magazine and other influential national
Indie music rags, Why? Because they’re fucking great, that’s why!!! They also have
been touring the nation relentlessly, of late. This, their third album, lends credence
to comparisons to Pavement, Wilco (et al), early Beck and even, ahem, Jane’s
Addiction, but that hardly hits the whole mark. They have mostly been greeted by
the local press with a collective yawn. Why? Because the flash in Pitchfork and the
other rags didn’t come out until some locals had already written their lukewarm
reviews. They didn’t know what to think. Now they do.
Blitzen Trapper are a lot more important than all that. They embrace whole
decades of American music with their sound- a West Coast chakra-warping melange
“
time, the Grateful Dead were a thoroughly enjoyable experimental rock band,
whose classic albums “Anthem Of The Sun” and “Aoxomoxoa,” their second and
third albums, respectively, were high water marks in the flood of new music that
besieged the American popular music basin in the late ‘60s. If nothing else, Blitzen
Trapper mirror that same spirit of freeform experimentation- coupled with complete
respect for the manifold musical idioms they embrace and a decided musical step
forward into the 21st century. Yikes!
According to guitarist/singer Marty Marquis, band mastermind Eric Earley
“plays everything and is basically God’s Own Bard.” It is reputed that Earley pretty
much recorded this album by himself, in his abandoned railroad car/makeshift
studio, or some such. Oh, I’m not making this shit up. Salem boys all, except for
Marty, who grew up in Yakima, the six-piece band began to coalesce around 2000,
playing various gigs and releasing several recordings under a variety of names.
Finally, in 2003 the band self-released their eponymously entitled first recording
to modest acclaim. Certainly there are nuggets to be found on that album, including the infectious rocker “All-Girl Team,” the Gram Parsons informed country of
“Reno,” and the jaunty folk of “Ansel and Emily Desader.”
Their second album, “Field Rexx” appeared a year later, yielding a similar
lo-fi collection of approximately fifteen songs, including the oddly catchy “Lux and
Royal Shopper,” the Parsons/Young informed charm of “Concrete Heaven,” the
pretty, lilting waltz of “Dreamers and Giants,” and the aforementioned unbridled
early Dead-ica of “Leopard’s Will To Live” and “Country Rain.” Though this new
album was completed last September, its release was delayed by talks between the
band and several major Indie labels. Those negotiations eventually fell through.
Though shortly after the release of this groundbreaking album, the band signed
with SubPop to record their next. So it’s off to the races, on a seven year fast track,
for Blitzen Trapper!
With the tranquil cover benignly portraying a hawk at autumn dawn on a
river in the Cascade- the first number “Devil’s A-Go-Go,” comes stumbling in
like a drunk after an all-night binge, the drums stumbling dumbly at first, before
locking into one of the weirdest cool rock songs you’ve ever heard. As if the dead
recorded a band with the Mothers of Invention (which they probably should
have). The dramatic Espagnole-laced middle section makes no sense at
all. That’s why it’s so great!!! The title track harkens back to “Harvest” era
Neil Young and others of his ilk from that period. Catchy- though in no
way representing what Blitzen Trapper are about, musically. So just what
are Blitzen Trapper about, musically?
Whew! That’s a big question. Listen to the next song, “Futures and
Folly” and you would think these guys cut their teeth listening to XTC all
through the ‘80s. Probably not. In a recent Pitchfork interview, Earley, who
Marquis says “writes and arranges 99% of the stuff,” claims not to have a
music collection at all, save a couple of cassettes. He does, however admit to
some familiarity with a couple of Neil Young’s early albums and Pavement’s
third album “Wowee Zowee.” Beyond that, Earley contends he only listens
to music to which he exposed by friends and other members of the outside
world. One would think, with so few musical references in his domain, that
Eric might be something of a “savant.” A tabula rasa, as it were. And that
would, indeed, appear to be the case. Check out the ballsy, bluesy big-chord
crunch of “Miss Spiritual Tramp,” followed by the somewhat “progressive”
sonic bedlam of the instrumental “”Woof & Warp Of The Quiet Giant’s
Hem,” with the hit-song precision of “Sci-Fi Kid” (vaguely reminiscent of
Bad Religion’s (“21st Century Digital Boy”) trailing.
Hey, this Earley guy is all over the board. Uh-oh. This is hard for “we
critics.” If, within the first three or four songs, we can’t settle on a some
hole in which to jam a particular musical pigeon- we tend to get nervous
and feel that we don’t know what we are doing (which we don’t) and that
there is no raison d’etre, as it were (and it weren’t) for our continuing on.
Well, this critic must continue on, if only to finish this sterling review!! So,
anyway, “Sci-Fi Kid” is a catchy acoustic/electronic number that grows on you by
about the third time you have heard it.
That brings up an important point about Blitzen Trapper: YOU CANNOT
APPRECIATE THIS BAND WITH A SINGLE AUDITION OF THEIR MUSIC.
Blitzen Trapper are, or
should be, the darlings of the
Portland music scene. They
have become the darlings of
Pitchfork magazine and other
influential national Indie music
rags, Why? Because they’re
f•cking great, that’s why!!!
”
of country rock, folk, bluegrass, rock, altrock, altcountryfolkrock and Southern
boogie rock. Meaning, given the opportunity, they pretty much touch all the bases.
Neil Young comes to mind. Those familiar with the early, pre-”Workingman’s”
Dead- before the band “made it” and ruined themselves- would recall that, at that
photo by Buko
There are other bands like this. Blitzen Trapper is one of them. If, after the
third or fifth listen to one of their songs, you aren’t totally locked into what
this band is doing- you are A) missing the musical point and B) in need of a
Mariah Carey massage. Look up “off-kilter,” “quirky,” “eclectic,” “idiosyncratic,”
and “odd” in the dictionary and there are photos of these musical rascals. Get
used to it!!!
Oh, there’s more. “Wild Mountain Nation” is a brief, banjo, Jews-harp,
harmonica infused jam that bespeaks Earley’s heritage in a musical family
(check out the first Blitzen Trapper album for more examples of this familial musicality). The strange “Hot Tip/Tough Cub” could easily be a track
extracted from “Aoxomoxoa.” The lovely, loopy upside-down rocker “The
Green King Sings” bears some resemblance to the opening track “Devil’s
A-Go-Go,” but is a tad more accessible. Early even sounds like Jerry Garcia,
vocally, in some of the turns- the last minute of this song is especially odd..
A sunny little acoustic ballad, “Summer Town” is totally straight ahead and
lacks the irony the other cuts display. Move over critics. THIS is the weird
track! It’s not weird. “Murder Babe” recaptures the loose-around-the-edges
rock that’s makes one feel a little drunk before drinking. Not necessarily a bad
propensity for a band to have. “Country Caravan” is a “Love Is A Rose” sort of
number- friendly and comfortable with a good, Stonesy (think “Honky Tonk
Women”) beat in the choruses.
It’s not as if Blitzen Trapper have jelled yet. They are still loose around
the edges and the possibility exists that Eric Earley may want to yield some
control of some of the production of future projects to professionals. But Wild
Mountain Nation (as with it’s predecessors) deserves an A for Creativity, and
A for Fun Quotient and an A for Distinctive Sound. In this crazy mixed up
world of popular music, that’s the sort of recipe that practically guarantees
success, for at least an album or two. With that time and money at their disposal, there is no telling what Blitzen Trapper could do. Control the world?
Well, it’s too soon to tell.
for your blood, sweat and tears works of art. The majors will only spend tons of
money on fat salaries and engorged expense accounts. Don’t be lured by the siren
song of big bucks. Keep it local. Maintain control.
The first twenty seconds or so of “Whales Sing” sort of evokes whales,
sonically- before breaking into a soulful riff, reminiscent of that found on
Booker T and the MGs’ hit from 1969, “Time Is Tight,” with drummer
Colin Anerson, bassist Mayhaw Hoons, and guitarists Jeff Lehman and
Nicholas Delffs (who is also the lead vocalist) doing a worthy job of imitating
Al Jackson Jr., Donald “Duck” Dunn and Steve Cropper; while echoing the Jam
at the same time. Sort of. More like the Jam doing a Kinks songs. Oh, you get the
point. “The Sleepless” could pass for an outtake from Wheat’s recent new release,
with Delffs doing a reasonable vocal imitation of Wheat’s Scott Levesque. A pretty
organ figure and pluckety electric rhythm guitar present the dominant structures
upon which the song hangs, with Delffs’ forlorn plaint quailing over the top.
Clocking in at under two minutes, “Why And How Come” is one of those
briefly piquant little numbers that blow by your consciousness so fast you don’t
know quite what it was that you heard, only that you liked it a lot. A sure invitation to listen to the song again and again and again. Anderson’s machine gun drum
attack echoes Keith Moon circa the Who’s “I Can See For Miles.” A tiny little hit
of a song. “Maker Make” most definitely sounds like an Americanized Kinks, circa
Arthur or Village Preservation, etc.
Guest Kyla Cech adds lush dynamic coloration to the soulful “We Will Rise,”
wherein Delffs sounds somewhat like Michael Stipe, in the “Moral Kiosk” era.
“Another World” allures with a raga-like drone and a subtle guitar interplay, calling
to mind Jimmy Page in around third and fourth Led Zeppelin albums of the early
‘70s. Morgan Matthews’ flute, in tandem with Cech violin adds a nice symphonic
touch (“Stairway To Heaven” anyone?).
There is a song from the late ‘50s, a haunting song called “Susie Darlin’” by
a one-hit wonder (who later followed his parents’ advice, got an education with
his royalties and became an professor of marketing at a college in Missouri). The
equally haunting “I’m Alive,” calls to mind the chill that song induced fifty years ago.
A despondent organ percolates beneath the churning guitars in the more energetic
second half of the song.
The previous song must have been lyrically heavy (none were included),
The Decemberists Live- Edgefield Manor
July 22, 2007
urrah! Hurrah! The Decemberists have returned to their official home
after touring the world like the jet-setting rockstars they are. Portland, as
ever, was absolutely thrilled to see the darlings of the local indie rock world entertain
with another fun filled evening. Hipsters, book nerds, Morrissey fans, and even people
born before 1985 converged in beautiful Troutdale to listen to the most adorable
croonings of the most well-read band ever.
Troutdale, as Colin Meloy put it that night, is “the new St. John’s.” We Portland
folk just don’t know it since we don’t ride our bikes outside of our indie rock bubble
very often. For me, Troutdale is part of the uncharted waters beyond the confines
of left leaning Portland. I don’t even know if there’s a coffee shop in Troutdale that
isn’t a Starbucks, much less that serves Stumptown coffee.
It’s nice to see that the transition from indie label to major label hasn’t
made the band forget its hometown roots. And they sure let us know! Meloy’s banter
with the audience was full of inside jokes and references that only us Portland kids
would get. He waxed nostalgic about performing in front of a near-empty room at
the Rabbit Hole, now known as Noir, way back in the day; as well as telling tales
of riding the Max downtown. I wonder how he
feels about the new tram at OHSU? Is he as riled
up about it as I am? Does he think Mayor Potter
is a weenie? How does he feel about the demise
of Coffee People? AND THOSE GODDAMNED
CALIFORNIANS AND THEIR SHIT SCARY
DRIVING SKILLS INVADING OUR FAIR CITY!
H
X
The Shaky Hands - The Shaky Hands
Holocene Music
This album came out in April, but deserves mention as being the work of
another local band (they shared a recent bill at Holocene for Blitzen Trapper’s
album release party) who display a knack for clever songwriting and distinctive
musicianship. This band too reflects a certain Wilco-ness, a Pavement-ish quality,
with dashes of Shins- and, perhaps, a ‘60s flair: mid-period Kinks, Small Faces,
pre-Tommy Who, etc, with a vaguely Americana rock bent thrown in for colloquial good measure: Meat Puppets, Violent Femmes, Wheat, with shades of early
Death Cab For Cutie thrown in. A tasty melange, to be sure. Melodic, smart and
smartly played.
To the extent that there isn’t a bad song among the baker’s dozen presented
here and that several stand out, this may be yet another band primed for major indie
label distribution. Of course, most bands know by now- the dinosaur major labels
are gone, gone with the 20th century. Bands, musicians: look to the lean mean indie
labels and distributors to provide national distribution and promotional support
because “Sunburns” jumps right in with a happy-go-lucky, whistily cheery “Sunburns.” “Host Your Day” chunks along steadily, with meaty guitars and a rumbling
bassline. A strong chorus makes this song stand out among a lot of other good
songs.
Morgan Matthews again returns to add buttery recorder-like flutes to the of
“Whirling Wind.” Anderson’s militant rhythms lend the song a pastoral quality
often found in many Decemberists songs. An Eastern European mysticism grabs
“Hold It Up,” as Delffs howls and bays through the vocal. Another very catchy
tune “Summer’s Life,” as with its predecessor, “Sunburns,” displays a happy, sunny
quality that is indefatigable in its spirit.
The Shaky Hands have garnered a lot of attention locally over the past few
years for being a solid live band. This recording, while not particularly “thick”
sonically, is still masterful in the skill displayed in the songwriting. Since recording
this project last year, the band has added Nicholas Delffs’ brother Nathan to add
percussion and lapsteel phrasings to the sound. Such a measure is well-conceived
in that a thin sound might be one of the few complaints would have of the band
on this recording, in which case: Problem solved!!
imena darling, you ignorant
slut, at what Decemberists
show were you? Maybe the Decemberists
SHOULD have booked the Schnitz. At
least we would not have had to endure the
squall that went up in Troutdale that Sunday
night. Perhaps you did not notice, your heart all
atwitter at the sight of Colin Meloy taking the stage in his colorful yellow Sou’wester and
charming Gorton’s Fisherman hat, cocked jauntily to one side- but that was quite a gale that
blew up in the second half of the show. Yes, he referred to “St. Johns” in his banter- what you
could hear of it over the fierce winds and driving rain. But I believe he was referring to St.
Johns, New Brunswick, a fine seafaring town, for which he pines so fondly when singing of
his childhood mid the tall-masted whaling ships and Civil War deserters.
He sang a bunch of songs in some crazy cockney dialect, that who knows how the hell he
picked up in Montana. Can you tell me how that happened? Was he raised on some wretched
Bri’ish whaling scow along the Platte? Was he raised by the Artful Dodger, fer chrissakes?
Something ain’t jellin for me here. And what about the curious speech impediment he has
acquired? In early albums, it was just the pseudo Cockney scouse. Now, however, he is having
difficulty enunciating “r’s.” Sounds like Elmer Fudd doing Fagin in Oliver!
The band, I have to say, was great, stalwart. They played well, despite being blown to
the ground on several occasions. At one point, John Moen, the drummer, threw down his
drum “throne” in a fury and screamed that he would play the remainder of the gig standing up- probably just as an effort to keep from being blown overboard, off stage. However,
exhausted, he later had to squat behind his drums, partly out of defense against the bitter
Ahem.
It’s good that The Decemberists have not forgotten Portland. In fact, Jenny
Conlee said her piano teacher was in the audience. I’m sure she must have been so
proud to see one of her students become such a success. Not every piano teacher,
no matter how talented and effective a teacher they may be, can say that one of their
students has achieved world fame.
The Decemberists can’t be accused of sounding like Neutral Milk Hotel as
much anymore. Their sound has become more distinctive and “theirs” as their career
progresses. I’m not going to review their latest album, The Crane Wife, here, but I will
say it is not my favorite release. That brings me to the trap I tend to fall in whenever
a band I really enjoy seeing and listening to puts out a less-than-my-favorite album,
where I tend to wish that they would play more of their back catalogue, rather than
do their job of promoting the new album at said concert.
And why is it that they got to tour with a full orchestra for this tour and us native
PDXers did not get to experience this? The brief free-jazz horn freakout that came
after playing “16 Military Wives” was pretty fun (I sure do love a good, skronky sax a
la James Chance), but I feel deprived of experiencing this music with a full orchestra.
Maybe The Schnitz was booked that night.
I can’t say I was disappointed with the show, however. They did end it, as I knew
they would, with “The Mariner’s Revenge.” It’s
so fun to go scream with the rest of the audience
as the whale is about to devour everyone. It’s
like being a kid at a sing-along again. XQ
rke
by Ximena Quiroz and SP Cla
winds and biting dounpour. Poor
little Jenny Conlee was blown offstage several times, but she gamely
returned to serve her Ahab-like
master- playing something pretty
whenever she could manage to crawl
back on stage- as Meloy would toss
a snarlingly cruel smile her way, his
eyes gleaming like two seal pups in a
steelhead run. Valiant Nate Query, opted to play most of the set with his stand up bassresorting to using it as a rowboat by evening’s end. And guitarist Chris Funk did everything
any man could to prevent the ship from going down. An heroic effort, to be sure.
Even Meloy, ostensibly immune to the thunder and St. Elmo’s Fire whirling around the
deck, had his guitar blown away out of his hands into the waves of humanity who foamed
out before him. The guitar, buffeted fiercely on the tides, was eventually torn to shreds. As
if to save the evening, Meloy then lashed himself to a light standard, his yellow Sou’wester
blowing in the wind, singing a version of “My Heart Will Go On,” with a bouzouki tied
to his chest- leading the frenzied crowd, their hands raised high, down to the bottom of the
mighty Atlantic. All hands were lost.
Oh yes, Ximena, bitch about the demise of your precious Coffee Peoples; the influx
of insane Californian drivers, who think George Bush invented the left-hand of the lane
of the freeway JUST FOR THEM. Lambaste Mayor Potter and that farfetched monkey
cage that slides up and down pill hill everyday. But no mention of the humanity? Oh, the
humanity.!Thousands of lives might have been lost that evening in Troutdale, if not for the
courage of the fearless crew. Perhaps Meloy could write about THAT! Oh, wait.... SP
by Anne Steiner
I
knew my interview with Curtis Salgado was going to be satisfying when
one of the first things we discussed during our phone pre-meeting was
soul singer Millie Jackson. Matter of factly and with absolute precision, Salgado
summoned up one single, but perfect adjective to describe the 70’s soul matron:
“Raunchy.” His description came readily, as it would from one who knows R & B
music in its finest obscurity.
Our real interview began on a sunny afternoon at Salgado’s Southeast
apartment. Curtis and his Tour Manager, Scott Craig, greeted me as they
returned from a music store. I was invited inside but within minutes of my
arrival, a neighbor showed up bringing Salgado his mail; Trumpeter David Mills
(Soul Vaccination) arrived at the door with Mac Book in hand, ready to upload
horn tracks he was arranging for Curtis’ band, and the telephone rang. Orchestrating the chaos in
his home as the seasoned bandleader he
is, Salgado opened
his mail, situated his
guests in a room covered with wall to wall
bookshelves (which
were loaded with
hundreds of Blues,
Soul and R&B CD’s,
LP’s and Videos) and
took care of his phone
call before rejoining us in
a matter of minutes.
It was interesting to
watch him at work off stage.
Seating himself cross legged on his floor, pulling CD’s from disorganized piles
spilling from bookshelves onto his carpet, Salgado interspersed business transactions with Mills; discussing particulars of the songs he wanted horn arrangements
for, while he talked about his lifetime love of Blues and R&B music. “I started
Curtis Salgado, Robert Cray and Richard Cousins, play together for the first time
since 1983 at the Benefit for Curtis.
listening to this stuff when I was a kid and I never stopped. I don’t think I even
owned a pop record until 1991.”
Whether discussing Johnny Guitar Watson, who Curtis describes as “the
original gangster of love,” who he believes was as talented and musically apt in the
< Curtis with Judith Belushi Pisano at the Benefit for Curtis.
“
I asked Curtis Salgado;
“If you could only keep three albums from your record collection, which ones would
they be?
First Choice: “Hate to See You Go” by Little Walter
“It’s the quintessential Chicago Blues with the best Harmonica ever.”
Second Choice: ”Night Beat” by Sam Cooke
“He was and still is the BEST singer. Sam Cooke changed the way it was done. I could
listen to it all day, every day.”
Third answer: “The Clones of Dr. Funkenstein” by Parliament
“You’re not giving me enough choices!”
Amazed, still, by the miracle of his eleventh-hour liver donor
and by the overwhelming support of musicians and fans at his benefit
concert in Portland in 2006 (6,000 attended the show at Theatre of
the Clouds, which included performances by Steve Miller, Taj Mahal,
Everclear, the Tonight Show horn players and others)
”
all photos by Buko
60’s and 70’s as Prince is today, or Larry Williams, who was running a burglary ring
at the same time he was producing hit soul records, Salgado speaks definitively
and precisely about the musicians, the music and their personal history, referencing little-known facts and adding bits of provocative shading that only voracious
scholars would know.
While playing cuts from CD’s
for Mills to rearrange, Salgado
discussed his style of performing
and how he writes and selects his
songs, “I get inspired by the music
I love,” he says, “I’ll write a song
thinking of something that O.V.
Wright or Sam Cooke did years
back, or if a song hits my heart –
if no one else has covered it, I’ll
think about doing it,” he states,
simultaneously punctuating horn
parts on the CD with a hand burst
or closed- hand punch, gesturing
to Mills’ who is typing notes on
his computer,
As conversation ricochets
from audiences to recording in L.A.
to the new outlook on his career,
Salgado shares thoughts on each
with equal intensity.
“
“My favorite shows are played for the people who want the full experience.
People who buy tickets and who pay a baby sitter and who choose to spend their
evening coming to see me perform,” he asserts, “The music and the show business,
the performance, go hand in hand. I run my show like it’s like an old soul review
- snap, crack, crack. We walk into the applause and don’t start talking to the audience until I’m 5 or 6 songs into a set – I like to get
them to ride the wave – take them up, up,
up and then I’ll bring them down with a
ballad, slow things up a little and then
work them up again. I’m very much
into the show biz aspect.”
Just as he is on stage – magnetic,
commanding and precise – he is also
in the comfort of home. Well into the
midst of the interview, as yet another
acquaintance shows up at his door, shouting through the screen door - “Squirtus!
Are you there?” Without skipping a beat,
Salgado invites the friend in, informs him
he’s in the middle of an interview, and
then proceeds with finishing his thought.
Perhaps the most surprising thing about
Curtis Salgado, which I found contrary
to his rather cocky and coolly-polished
stage persona, was his relaxed and casual
openness.
As the discussion switched from music to his health, he acknowledges his
desire to seek out more positivity in his day to day experiences.
“Life is short, and when you’re told yours is about to end, REAL SOON, you
start appreciating things in a different way. You don’t want to waste your time on
the things that got you nowhere before.”
Amazed, still, by the miracle of his eleventh-hour liver donor and by the
overwhelming support of musicians and fans at his benefit concert in Portland
in 2006 (6,000 attended the show at Theatre of the Clouds, which included performances by Steve Miller, Taj Mahal, Everclear, the Tonight Show horn players
and others), Salgado talked openly about the people in his life who were there for
him, mentally and financially, through the process. At one point, he recalls being
brought to tears when he heard of the local generosity and outpouring of love by
people he hardly knew. Other benefits were played across the country as well: in
San Francisco, Chicago, San Diego, San Jose, Seattle, Eugene and Omaha, which
Salgado calls “The kindest city.”
“I love Omaha,” he offers earnestly, referring to the town where he received
his transplant. “Everyone there was so helpful and kind and willing to make it
happen for me.”
Scott Cramer, summed up the benefits succinctly “It was like a great big
surprise party for Curtis - all over the country.”
Yet, considering the notoriety Salgado has gained throughout his career as
an R&B performer and songwriter (he was the inspiration behind John Belushi’s
Blues Brothers; he’s toured and performed with the most respected Blues and R&B
musicians in the world: Albert Collins, Robert Cray, Roomful of Blues, Stevie Ray
Vaughan, Bonnie Raitt and Carlos Santana), he maintains a boyish enthusiasm
when he talks about his new record and working with The Phantom Blues Band
(Michael Finnegan, Johnny Lee Schell, Tony Braunagel and Larry Fulcher), a group
of high caliber L.A. studio musicians whose credits include work with Bonnie Raitt
(Nick of Time), Neil Young, Etta James, Delbert McClinton and Taj Mahal. The
band had been wanting to record with him for 2 years and when they finally got
him into the studio, Curtis describes the magic that happened.
“These guys are amazing to work with,” he says. “First of all, they really wanted
to work with me. Second, they’re incredible pros – we put so much down in such
a short period of time. They’re in it a hundred percent. They really go the distance
to be creative and hammer songs out in the studio.”
The new album, produced by Marlon McClain and Anthony Braunigan, also
matches Salgado with Nashville songwriting collaborators David Dunkin and Kevin
McKendree. In addition to Salgado’s original material, he’s received songs from
outside sources like Tommy Simms, who wrote the Eric Clapton hit, “Change the
World.” Simms has sent three songs for Curtis to consider.
To date, Salgado has recorded seven songs for his new album and is currently
writing and gathering new material. He hopes to iron out schedules to resume
recording early next year, but a busy tour schedule through the end of year adds to
his challenge. And even with the promise of his new industry heavy associations,
Salgado maintains a relaxed view about any future success. He reminds himself
that, though it would be nice to reach the next level, it’s not the most important
thing to him anymore.
“Before my transplant, I wanted different things from my music – I wanted a
Grammy, I wanted to play huge halls, I wanted a song on the charts. Now, I don’t
really care. When you’re told you have 8 months to live and then get a new chance
at life, your priorities kind of change. I’m much more grateful for what I have than
I was before.”
Life is short, and when you’re told yours is about to end, REAL SOON,
you start appreciating things in a different way. You don’t want to waste
your time on the things that got you nowhere before.
”
At the Waterfront Blues Festival 2007.
LIVE REVIEW
Grinderman – Slim’s, San Francisco, CA. July 27, 2007
People who know me know how much I adore Nick Cave, The Bad Seeds,
The Birthday Party, and related side projects. I even have a Birthday Party tattoo
on the inside of my arm. I’ve even flown to Germany to see Cave play, thinking
that he’d never return to the US after the previous tour.
He’s come back to America a couple of times since my lovely European
excursion and I’ve gone to every show my budget would allow. My adoration of
this man’s music never wavered, even though I thought Nocturama was terrible
and thought that the song “Rock of Gibraltar” was one of the worst songs to have
ever fallen out of his brain. Through career thick and thin, I have loved this man’s
music like no other.
Enter Grinderman, Cave’s new band with Jim Sclavunos on drums, Warren
Ellis on violin (of course), viola and other instruments, Martin Casey on Bass and
Cave on guitar. The first song to have hit the internet was “No Pussy Blues,” what
I dismissed as a juvenile rant about how his lady just don’t put out enough.
Good lord, I thought. This is really it. My heroes have become a bunch of
mustachioed old farts playing rock and roll midlife crisis tunes. What happened to
the hell fire and brimstone of years past? What about the growing pains of a man
maturing past his angry youth and drug laced days? Cave’s hairline was migrating
downwards – the more he lost on top, the more grew on his face. He was looking
more like a skinny black haired balding
Hulk Hogan rather than the mysterious
skeletal figure that set my heart and soul on
fire. Sure, it’s not possible for him to look 35 for
the rest of his life. But was this part of “growing
old gracefully”?
Fuck no. And let me tell you just how
important it is that they don’t “grow old
gracefully” in their music and performance. These moustaches that the band
are sporting are important. They could
very well be the most important moustaches in rock and roll. Ever. They are sporting
the moustaches and wardrobe worthy of rock and roll veterans; showing the rest of
the world what for. The force behind these moustaches is to be reckoned with!
Normally I don’t put such a heavy emphasis on fashion with musicians I
admire. However, this time fashion is a necessary component of the complete
package that is a Grinderman show. Cave looked absolutely porntastic with his
hair, ‘stache, suit and silk shirt buttoned half way down to reveal a gold chain with
a small gold medallion dangling and hitting his protruding sternum. And when
he picked up that guitar and started powering those chords through Slim’s sound
system, everyone felt that old rock and roll energy and their souls were possessed
by Cave and the band. No one could pull away from this super human force. No
one this age with such a moustache should be this sexy.
It was here that I finally understood what Grinderman is. It’s not an
album of juvenile songs, it’s not Cave learning how to play guitar, and it is most
definitely and unmistakably not a bunch of former punk rockers trying to reclaim
their youth. It is just plain rock music super powered by the godlike force of Nick
Cave and select Bad Seeds. It is a new band that was able to give old Bad Seeds
songs, performed in the encore, a new breath of life. It is Grinderman.
Attorneys Entertainment
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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 Portland based labels: The Magic
Wing and Eurock. National distribution through Distribution North
America & Rock Bottom.
Affiliated Label: Sideburn Records
Types of music released: Roots Rock
Artist Roster: 44 Long, Rudy Tutti
Grayzell, Tommy Womack.
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 Records
16016 Lower Boones Ferry Road,
Suite 5 Lake Oswego, Oregon 97035
Phone: 503-675-1670, 503-635-7355
Contact: Steve Landsberg.
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.
Distribution: DNA North America,
Burnside Records.
Flying Heart Records
4026 N.E. 12th Ave.
Portland, OR 97212
Elemental Records
Phone: 503-287-8045
PO Box 55771
Web: www.teleport.com/~flyheart/
Phone: 503-803-6020
Owner: Jan Celt
Email: [email protected] Producer: Jan Celt
Web: www.elementalrecords.com
Types of music released: Original NW
President: Cassandra Banton
artists and related projects.
Vice President: Robert Wynia
Submission Formats: Demo cassettes.
Exec Producer: Diogenes Alexander Xenos Kinds of deals usually offered: Album
Roster Management: Aaron Thorpe
projects, Publishing of related materials.
Active Roster: Floater, TV:616, Blyss Other services offered: producer services and bands wishing to make their
Available: Jollymon, Sweaty Nipples,
Henry’s Child, NW Compilations
own releases.
Artist roster: Janice Scroggins, Tom
Distribution: Direct, Burnside,
Valley Records
McFarland, Obo Addy, The Esquires,
Studios: Gung-Ho Studios (Eugene), Napalm Beach, SnoBud & the Flower
People, Snobud Comics by Chris
Freq (Portland)
Submission format: CD or high
Newman, Phillip’s Dream World
Cavity Search Records
coloring book for children, written and
quality video
P.O. Box 42246 Portland, OR 97242
Offering: Unusual agreements for the illustrated by Chris Newman, Eddie
right bands.
Harris, Thara Memory, the Gays.
Web: www.cavitysearchrecords.com
Distribution: Burnside.
Owners: Denny Swofford, Christopher
EON Records
Cooper Types of Music Released:
PO Box 5665
Heinz Records
Music we like by bands/artists we
Portland, OR 97228
728 SW 1st Ave Portland, OR 97204
like. Artist Roster: Pete Krebs, Pete
Mailing Address: P.O. Box 4628, PortKrebs & Gossamer Wings, King Black Email: [email protected]
land, OR 97208
Web: www.eonrecords.com
Acid, Richmond Fontaine, Golden
Phone: 503-249-0808
Delicious, Wayne Horvitz, Steve Lacy, Owners: Tommy/John Thayer
Fax: 503-249-7842
Producers: Various
Elliott Sharp, Elliott Smith.
Types of music released: new
Submission format: We are not acceptArtist roster: 28 IF, Black’n Blue, Dan Reed ing submissions right now.
Cravedog Records
Distribution: Nail Distribution/Portland, OR Artist roster: Pink Martini,
1522 N Ainsworth St. Portland, OR
3 Leg Torso, Le Happy
97217
Web: www.pinkmartini.com.
Eurock
Phone: 503-233-7284
Jus Family Records
Phone: 503-281-0247
Fax: 281-0247
3439 NE Sandy Blvd #701
Owner: Todd Crosby.
Portland, Ore 97232
Producers: Luther Russell, Johnny
Web: www.eurock.com
Phone: 800- 757-1851
Beluzzi, Larry Crane, Various
Owner: Archie Patterson
Types of music released: Various.
Web: www.jusfamilyrecords.com
Types of music released: License
Types of deals offered: Varies.
Artist roster: Little Sue, Fernando,
Warren Pash, Luther Russell Distribution: Valley, Burnside, Redeye, Miles of
Music, CD NOW, Amazon.com, Music
Boulevard.
We are not accepting submissions at
the present.
Criminal Records
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.
razy.com
c
r
a
it
u
g
.
www
3319 SE Division
503-238-GITR
[email protected]
Musicians Resource Guide
You can also see this guide online at
buko.net, to save space long equipment lists are limited to the online
listings.
Nettleingham Audio
108 East 35th Street Vancouver, Washington 98663-2207
Web: www.nettleinghamaudio.com
Toll Free: 888.261.5086
Phone: 360.696.5999
National Dust Records
P.O.Box 2454 Portland, OR 97208
Phone: 503-903-0625
Web: www.angelfire.com/nd2/nationaldustrecords
Contact: Shan
Producer: the bands choice.
Types of music released: Punk rock,
rock’n roll.
Submission Formats: tapes/records.
Kind of deals usually 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).
Northstar Recording Studios
313716 SE Ramona Street
Phone: 503-760-7777
Fax: 503-760-4342
Web: http://www.northstarsamples.
com/studio/index.html
www.jamacspeakers.com
www.jamacspeakers.com
Loudspeaker Specialists
since 1952
9 to 5 Mon thru Fri.
8600 NE Sandy Blvd.
Amps, Keyboards, Pro audio, Multi-Tracks & More
• 31 YEARS EXPERIENCE • FACTORY AUTHORIZED
WE SERVICE ALL MAKES & MODELS
Please see our web site for a complete listing
WWW.ALL-SERVICE-MUSICAL.COM
Fast, Friendly, Dependable
617 SE MORRISON
503-231-6552
MDR Records
1920 N. Vancouver St. Portland, OR. 97227
Phone: (503) 287-3975
Fax: (503) 294-5021
Psycheclectic Records
P.O. Box 8133 Portland. OR 97207
Phone: 503-295-2776
Web: www.psycheclectic.com
Contact: William Weikart
Artist roster: Garmonbozia, James
Angell and Obscured by Clouds
SuperDigital Ltd /
Purple Mastering Studio
1150 N.W. 17th Portland OR 97209
Phone: 503-228-2222
Music Stores
Apple Music Company
Address: 225 SW First Ave.,
Portland, OR 97204
Toll free number: 800-452-2991
Phone number: 503-226-0036
Web: www.applemusicrow.com
Business Hours: Mon-Sat: 10:30AM to
6:30PM Sunday:1:00PM to 5:00PM
Artichoke Music
Address: 3130 S.E. Hawthorne Blvd.,
Portland, OR 97214
Phone: 503-232-8845
Tombstone Records
Fax: (503) 232-3476
16631 SE 82nd Drive
Store Hours: Tue-Sat: 11:00am 6:00pm Sunday: 12:00am - 5:00pm
Clackamas, Oregon 97015
Mailing Address: P.O. Box 1463, Clack- Web: www.artichokemusic.com
amas, OR 97015 U.S.A.
Phone: 503-657-0929
Portland’s Premier Folk Music Shop
Fax: 503-631-2797
and Guitar Emporium
Web: www.deadmoonusa.com
Owners: Fred & Toody Cole
Beaverton Music Services, Inc.
Producer: Fred Cole
12630 SW 1st St. Beaverton, OR. 97005
Types of music released: MONO
ONLY!! Mostly original garage and
Phone: (503) 643-5431
psychedelic, raw rock ‘n roll.
Submission Formats: Tapes mixed
Blue Dot Guitars
down to 1/4” reel to reel. DATcassette Address: 502 7th. St. Oregon City, Or
or high-quality cassette.
97045 Phone: 503.656.1913
Kind of deals usually offered: We press Web: www.bluedotguitars.com
mostly 45s, but can do LPs and CDs.
Artist Roster: Dead Moon, Flapjacks, Store Hours: M-Th 11am - 8pm Fri &
Spider Babies, Jr. Samples, 8 Ft.Tender, Sat 11am - 5pm
Hardship, Asthma Hounds, Deadbeat We are now Fender Authorized WarHearts.
ranty Service Center
Distribution: Get Hip, Revolver,
Mordam, NAIL, Subterranean, Burn- Centaur Guitar
side Distribution (CD’s only).
Address: 2833 NE Sandy Blvd. Portland OR 97232
Mastering
Phone: 503-236-8711
Web: www.centaurguitar.com
Freq Mastering
1624 SW Alder Portland, OR 97205
Store Hours: Daily 10:00am - 7:00pm
Phone: 503-222-9444
Fax: 503-222-6446
Five Star Guitars
Email: [email protected] 2303 NW 185th Ave.
Web: www.freqmastering.com
Hillsboro, OR 97124
in the Tanasbourne Village Shopping Center.
voice: 503.439.9500
fax: 503.533.2134
http://www.fivestarguitars.com
hours: Monday - Friday 10 am to 7 pm
Saturday 10 am to 5 pm
Sunday 12 noon to 5 pm
Guitar Castle
3439 State St. Salem, OR. 97301
Phone: (503) 364-2757
Salem’s Vintage Guitar Store
Guitar Center
Guitar Center Beaverton
9575 S.W. Cascade Ave.
Beaverton, Oregon 97008
Phone: 503-644-9500
Fax: 503-644-9600
Manager: Gabe McFadden
Store Hours: M-F: 10-9 | Sat: 10-8 |
Sun: 11-6
Guitar Center Clackamas
13029 Southeast 84th Ave.
Phone: 503-654-0100
Fax: 503-654-0300
Manager: Brian Harrison
Store Hours: M-F: 10-9 | Sat: 10-8 |
Sun: 11-7
Joyful Noise Music Co.
7705 SE Harmony Rd. Milwaukie, OR. 97222
Phone: (503) 786-8742
Web: www.joynoisemusic.com
Portland Music Company
Martin Luther King Store
531 SE Martin Luther King Blvd
Portland OR 97214
Everything except sheet music, band
and orchestra instruments.
Web: www.portlandmusiccompany.com
Business Hours: Mon-Fri: 10:00AM
to 6:30PM
Saturday:10:00AM to 6:00PM
Sunday:11:00AM to 5:00PM
Broadway Acoustic store:
2502 NE Broadway
Portland OR 97232
-Acoustic instruments, band and
orchestra instruments.
to 6:30PM Saturday:10:00AM to
6:00PM Sunday:11:00AM to 5:00PM
Beaverton store:
10075 SW Beaverton Hillsdale Hwy
Beaverton OR 97005
Toll free: 888-852-1557
Phone for sheet music: 503- 641-5691
-All instruments and sheet music
to 6:30PM
Sheet Music Closed on Sunday
Eastside, Division store:
Address: 12334 SE Division
Portland OR
-All instruments and sheet music
to 6:30PM
Publicity
Toll Free: 800-755-1665
Phone: 503-652-2160
Fax: 503-652-2764
Web: www.brownellsound.com
Hours: 9:00 am to 5:00 pm Monday
Thru Friday
Hollywood Lighting
5251 SE McLoughlin Blvd.
Toll Free: 800.826.9881
Phone: 503.232.9001
Fax: 503.232.8505
Rhythm Traders’
Email Department Contacts
Address: 424 NE Broadway,
Rentals - Kirk Davis Portland, OR 97232
[email protected]
Production - Gavin D’Avanther Toll free number: 800-894-9149
[email protected]
Web: www.rhythmtraders.com
Retail Sales - Dena Poer Email: [email protected]
Business Hours: Mon-Sat: 11:00AM to [email protected]
7:00PM Sunday:12:00AM to 5:00PM System Sales - Sean Chiles [email protected]
Showcase Music and Sound
Electrical Services Frank Locke frank.
3401 SE Hawthorne Blvd.
[email protected]
Portland, OR. 97214
Web: www.hollywoodlighting.biz
Toll Free: 888-240-4048
Showroom Hours: Monday through
Phone: (503) 231-7027
Friday: 8AM - 6PM
Web: www.showcasemusicandsound.com Saturday 9AM - 1PM
Email:[email protected] Sunday Closed
Tigard Music
Address: 11579 Sw Pacific Hwy,
Tigard, OR 97223
Phone: 503-620-2844
Web: www.tigardmusic.com
Store Hours: Mon-Thurs: 10:00am 8:00pm Fri-Sat: 10:00am - 6:00pm
Tombstone Music
Address: 16631 SE 82nd Drive
Phone: 503-657-0929
Web: www.deadmoonusa.com/tombmusic.htm
Store Hours: The Music store is
currently closed, and is undergoing
remodeling.
Wat’z Up Hillsboro Music Co.
270 e main street
Hillsboro Or 97123
503-648-5241
fax 503-640-1291
www.hillsboromusic.com
Ken & Kelly Scandlyn
“music store with more”
Hrs m-Fri 10am-6pm
sat 10am-5pm
closed Sunday
Weathers Music Corp.
2825 Commercial St. Southeast
Salem, OR. 97301
Phone: (503) 362-8708
Web: www.weathersmusic.com
Production
Brownell Sound
12115 S.E. 82 nd. Ave. Suite D
Portland, OR 97086
In Music We Trust PR
15213 SE Bevington Avenue Portland,
OR 97267-3355
Phone: 503-557-9661
Owner: Alex Steininger
Web: www.inmusicwetrustpr.com
We handle local (CD release shows,
dailies/weeklies 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 Publicity
1707 NE Jarrett St Portland, OR 97211
Phone: 503.281.9696
Owner: Kaytea Mcintosh
Web: www.xopublicity.com
www.myspace.com/xopublicity
“A Damn Fine PR Firm”
Radio
AM
KWIP - 880 am - “La Campeona”
Format: Mexican music
Street Address: 1405 E. Ellendale;
Jamac Speaker Co.
Dallas, OR 97338
8600 NE Sandy Blvd.
Mail Address: P. O. Box 469; Dallas,
Portland,OR. 97220
OR 97338
Phone: (503) 252-2929
Phone: (503) 623 - 0245
Web: www.jamacspeakers.com
Fax: (503) 623 - 6733
Store Hours: Mon-Fri 9:00 am to 5:00 pm Web: www.kwip.com
Special late night hours on Monday:
General Manager: Diane Burns
7:30 to 9:00 pm
PowerMac Pac
12310 NE Whitaker Way
Portland, OR. 97230
Toll Free: 800-460-8080
Local: (503) 256-5210
Web: www.powermac.com
Consumer sales: [email protected]
Business sales: [email protected]
Service help: [email protected]
Pro Sound & Lighting
3511 SE Belmont St.
Portland, OR. 97214
Phone: (503) 232-4889
Web: www.prosoundonline.com
Store Hours: Mon-Fri 10:00 AM to
6:00 PM Sat: 10:00AM to 4:00PM
Portland’s #1 Sound and Lighting
Company
Showcase Rentals
3401 SE Hawthorne Blvd.
Portland, OR 97214
Toll Free: 888-240-4048
Phone: 503-231-7027
Rental Manager: Tim “TC” Chassaing
Web: www.showcasemusicandsound.
com/rentals/rentals.htm
Hours: Monday through Friday: 10AM
- 7PM Saturday 10AM - 6PM Sunday
11AM - 6PM
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
KPSU - 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
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.
Street Portland, OR 97239
Web: www.jamminfm.com
Phone: (503) 231-8909
Fax: (503) 238-2020
Store Hours: Mon-Sat: 10:00 am to
10:00 pm, Sunday: 11:00 am to 9:00 pm
Fax: (503) 238-1787
Toll Free: 1-877-238-1955
Speaker Repair: [email protected]
Website: www.inner-sound.com
Ranch Records
Owner: Jay Moskovitz
Established in 1978 Inner Sound is
170 Liberty St. NE Salem, OR. 97301
Phone: (503) 362-8515
the largest audio service center in the
Pacific Northwest. Five full-time techRepair
nicians and a full-time office staff are
ready to suit your repair needs.
All Service Musical Electronics Repair Services: Home Stereo, Professional
(Formerly KMA Electronics)
Equipment, Car Audio
617 S.E. Morrison,
Portland, OR 97214
Portland Fret Works
Phone/Fax: (503) 231-6552
3039 NE Alberta St.
Portland, OR. 97211
Toll Free: 1-888-231-6552
Phone: (503) 249-3737
Website: www.all-service-musical.com
Contact: Randy Morgan
The 12th Fret
Services: Quality electronic service for Address: 2402 Se Belmont
musicians, studios and music dealers. Portland, Oregon 97214
Factory authorized for most major
Phone: 503-231-1912
brands.
Fax: 503-231-0545
Hours: 9-4 Monday, 9-6 Tuesday
Web: www.the12thfret.com
through Friday, Saturday 10-4
Store Hours: Tues - Fri: 10:30am Years Experience: 28+, over 20,000
6:00pm Saturday: 12:00am - 5:00pm
repairs performed.
Guitar repair, custom modification,
Specialties: Service and repair of pro
complete restoration, and custom
audio gear, guitar amps, keyboards,
guitar building by master craftsmen
studio equipment, and home audio
gear. From vintage to state-of-the-art. If and luthiers since 1979.
you can plug it in and make music with
Jamac Speaker Co.
it, we probably repair it.
Clients: We have performed repairs for 8600 NE Sandy Blvd.
Portland,OR. 97220
almost every music store in Portland
and Vancouver. We have done work for Phone: (503) 252-2929
dozens of national acts and many local Web: www.jamacspeakers.com
artists. We have clients from coast to
Store Hours: Mon-Fri 9:00 am to 5:00 pm
coast, but we like our local customers Special late night hours on Monday:
the most!
7:30 to 9:00 pm
Fearless Guitars
5237 NE Sacramento
Portland,OR. 97213
Phone: (971) 645-2097
Fax: (503) 287-3636
Web: www.fearlessguitars.com
Owner: Chance Walte
Inner Sound
1416 SE Morrison Street Portland,
Oregon 97214
Phone: (503) 238-1955
An Unreel World
Lake Oswego (503)639-9364
Owner: Karin Kopp
Bartholomew Productions
33470 Chinook Plaza, Ste. 345
Scappoose, Or 97056
Website: www.bartpro.com
Phone: 503-543-7664
Contact: Bart Hafeman
Studio Manager
Don Ross Productions
3097 Floral Hill Drive
Eugene, OR 97403
Website: www.donrossproductions.com
Phone: 541-343-2692
Fax: 541.683.1943
Contact: Don Ross
DIG Recording
420 SW Washington, Suite 606
Portland, OR 97204
Phone: 503-243- DIG-1
Web: www.dig-recording.com
Big Red Studio
Corbett, Oregon (25 min. E of downtown Portland)
Contact :Producer/engineer: Billy Oskay
Phone: 503-695-3420
Falcon Recording Studios
Web site: www.bigredstudio.com
15A SE 15th Street
Contact: Dennis Carter
Blue Dog Recording
Phone: 503-236-3856
1314 NW Irving Portland, OR 97209 Email: [email protected]
Phone: 503-295-2712
Web: falconrecordingstudios.com
Web: www.bluedogrecording.com
Fleschtone Records
Owner: Bruce Robertson
Near Multnomah Village
Phone: 503 349 7883
Ronn Chick Recording
Web: www.davefleschner.com
31209 NW 86th Circle
Vancouver, Washington 98665
Phone: 360-571-0200
Fresh Tracks Studio
Owner/Engineer: Ron Chick
1813 S.E. 59th Portland, OR 97215
Website: www.freshtracksstudio.com
Crossroads Productions
Phone: 503.235.7402
7708 NE 78th St.
Contact: Jon Lindahl
Vancouver, WA 98662
Phone: 360.256.9077
Email: [email protected] GoodJobStudio
Web: www.crossroadsproductions.net (IT’S YOUR MIX)
Staff: Darren Bowls, Production/Artist NE Alberta ST
Development.
Tigard Music
Contact: Johnny Martin
Dead Aunt Thelma’s Studio
Address: 11579 Sw Pacific Hwy,
Phone: 503-422-1886
7923 SE 13th Ave.,
Tigard, OR 97223
Portland, OR 97202
Phone: 503-620-2844
Web: http://goodjobstudio.com
Mailing
Address:
P.O.
Box
82222
Store Hours: Mon-Thurs: 10:00am Portland, OR 97282-0222
8:00pm Fri-Sat: 10:00am - 6:00pm
Gung-Ho Studios
Website: www.thelmas.com
Certified Woodwind/Brass Repair
86821 McMorott Lane Eugene,
Oregon 97402
Team
Phone: 503.235.9693
Web: www.gunghostudio.com
Fax: 503.238.9627
Studios
Phone: 541-484-9352
Please check the studio listings at buko. Mike Moore: Studio Manager/Head
Owner: Bill Barnett
Engineer
net for the complete listing of equipNicole Campbell Peters: Assistant
ment for each studio.
World Famous Gym Since 1948
The Complete Fitness Center for Men and Women
No Contracts or Initiation Fees
AEROBIC & MUSCLE TONING CLASSES • STRETCHING, BACK & AB CLASSES, YOGA • FREE WEIGHTS, NAUTILUS, UNIVERSAL, LIFECYCLES, STAIRSTEPPERS, TREADMILLS, ROWING MACHINES • OUTDOOR POOL, STEAMROOM, SAUNA
• FREE PERSONAL TRAINING •
FRIENDLY & HELPFUL STAFF & MEMBERS
Just off Division
503-232-8311
2414 SE 41st Ave.
www.pawntalk.com
the musicians loan center
Portland’s Finest Pawn Shop. One SuperStore Location to Serve You. 2122 NE Sandy Portland, OR 97232
(503) 813-9273
Web: www.kink.fm
Record Shops
General Manager: Stan Mak
Program Director: Dennis Constantine Centaur Guitar
Music Director: Kevin Welch
KYCH - 97.1 fm Charlie FM,
Address: 2833 NE Sandy Blvd. PortWe play everything
land OR 97232
KKCW - 103.3 fm - K103 soft rock favorites Phone: 503-236-8711
Format: Adult contemporary
Street Address: 0700 SW Bancroft St. Format: Soft Rock
Web: www.centaurguitar.com
Street Address: 4949 SW Macadam
Avenue Portland, OR 97239
Phone: 503-223-1441
Store Hours: Daily 10:00am - 7:00pm
Phone: 503-222-5103
Web: www.charliefm.com
Fax: 503-241-1033
Crossroads Music
Web: www.k103.com
KUPL - 98.7 fm
3130 SE Hawthorne
KBPS - 89.9 fm - All Classical
Format: Country
Email: from site
Portland, OR. 97214
Format: Classical
Program Director: Tony Coles
Street Address: 222 SW Columbia
Phone: (503) 232-1767
Street Address: 515 NE 15th Avenue, Suite 350, Portland, OR 97201
Portland, OR 97232
KFIS - 104.4 fm - the Fish
Phone: 503-223-0300
Web: www.xro.com
Phone: 503-943-5828
Format: Contemporary Christian music Store hours: Mon-Thur: 11:00 am to
Web: www.kupl.com
Fax: 503-802-9456
Program Director: John Paul
Street Address: 6400 S.E. Lake Rd,
6:00 pm, Fri - Sat: 11:00 am to 7:00 pm
Web: www.allclassical.org
Suite 350, Portland, OR 97222
Sun: 11:00 am to 6:00 pm
KWJJ - 99.5 fm - the Wolf
Phone: 503-786-0600
Format: Country
Fax: 503-786-1551
Everyday Music
KBOO - 90.7 fm - Community Radio Street Address: 0700 SW Bancroft St. Web: www.1041thefish.com
All stores open 9:00 am ‘til midnight
Format: providing programming for
Program Director: Dave Arthur
365 days a year
unpopular, controversial, or neglected Phone: 503-223-1441
Music Director: Kat Taylor
Web: www.everydaymusic.com
perspectives
Fax: 503-223-6909
Downtown
Street Address: 20 SE 8th Avenue,
Web: www.thewolfonline.com
KRSK - 105.1 fm - the Buzz
1313 W. Burnside
Portland, OR 97214
General Manager: Jack Hutchison
Format: Rock
Portland, OR 97209
Phone: 503-231-8032
Program Director: Mike Moore
Street Address: 0700 S.W. Bancroft St. 503.274.0961
Fax: 503-231-7145
Portland, OR 97239
fax: 503.274.9831
Web: www.kboo.fm
KKRZ - 100.3 fm Z100
Phone: 503-223-1441
Eastside
Program Director: Chris Merrick
Format: #1 hit music station
Fax: 503-223-6909
1931 NE Sandy Blvd.
Music Director: Brandon Lieberman
Street Address: 4949 SW Macadam Ave. Web: www.1051thebuzz.com
Portland OR 97232
Email: from site
503.239.7610
KGON - 92.3 fm Classic Rock
Phone: 503-323-6400
Music Director: Sheryl Stewart
fax: 503.239.1730
Format: Classic Rock
Fax: 503-323-6660
Beaverton
Street Address: 0700 SW Bancroft St. Web: www.z100portland.com
KIJZ - 105.9 fm - Smooth Jazz
3290 SW Cedar Hills Blvd.
Email: from site
Format: Jazz
Beaverton, OR 97005
Phone: 503.223.1441
Street Address: 4949 SW Macadam
503.350.0907
Fax: 503.223.6909
KUFO - 101.1 fm - the only station
Avenue Portland, OR 97239
fax: 503.350.1966
Web: www.kgon.com
that really rocks
Phone: 503-323-6400
Seattle/Capitol Hill
Program Director: Clark Ryan
Format: Hard Rock, Metal
Fax: 503-323-6664
112 Broadway E.
Street Address: 2040 SW First Avenue, Web: www.kijz.com
Seattle, WA 98102
Email: from site
KNRK - 94.7 fm Alternative Portland Portland, OR 97201
206.568.3321
Format: Alternative
Phone: 503-222-1011
fax: 206.568.5114
Street Address: 0700 SW Bancroft St. Fax: 503.222.2047
KLTH - 106.7 fm - home of the 60’s & 70’s
Web: www.kufo.com
Format: Rock
Music Millennium
Phone: 503-223-1441
Street Address: 222 SW Columbia St. 3158 E. Burnside Portland, OR. 97214
KINK - 101.9 fm - FM 102 true to
Suite 350, Portland, OR 97201
Fax: 503-223-6909
Phone: (503) 231-8926
Web: http://947.fm
the music
Phone: 503-223-0300
Fax: (503) 238-2020
Program Director: Mark Hamilton
Format: Album Rock
Web: www.khits1067.com
Web: www.musicmillennium.com
Street Address: 1501 SW Jefferson,
Email: from site
email: [email protected]
KXJM - 95.5 fm JAMMIN’ 95.5
Portland, OR 97201
Phone: 503-517-6000
Format: Hip Hop
Music Millenium- Classical
Fax: 503-517-6100
Street Address: 0234 SW Bancroft
3144 E. Burnside Portland,OR. 97214
FM
KMHD - 89.1 fm - Jazz, Blues, and
NPR News
Format: Jazz Street
Address: 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
Jackpot! Recording Studio
2420 SE 50th, Portland, OR 97206
Phone: 503-239-5389
Web: www.jackpotrecording.com
Myspace: www.myspace.com/jackpotrecording
Larry Crane-Owner, Engineer
Kendra Lynn-Studio Manager, Bookings
Kung Fu Bakery
To Contact Kung Fu Bakery For
information, booking, location and
directions. Call 503-239-4939
Web: www.kungfubakery.com
Web: www.reynoldsaudio.com
Contact: John Reynolds
September Media
Phone: 503.295.1277
Web: www.septaudio.com
Engineer/producer: Craig Harding
Sound Impressions, Inc.
1920 N. Vancouver
Portland, OR 97227
Phone: 503-287-3975
Fax: 249-5021
Web: www.sound-impressions.com
Owner: Dan Decker
SuperDigital Ltd /
Purple Mastering Studio
1150 N.W. 17th Portland OR 97209
Phone: 503-228-2222
Lemon Studios
1424 SE 162 Portland OR 97233
Website: www.lemonstudios.com
Venues
Phone: 503-761-0964
Aladdin Theater
Contact: Jon Lemon
3017 SE Milwaukie Blvd.
Portland, OR 97202
Lion’s Roehr Studio
Info line: 503-233-1994
5613 S.E. 69th Portland, OR 97206
Format: All styles (no punk)
Phone: 503-771-8384
Booking: Mark Adler 503-234-9694
Web: www.lionsroehr.com
Manager: Tom Sessa
Owner: Mike Roehr
Fax: 503-234-9699
Lost Studios
Web: www.aladdin-theater.com
Web: www.lost-studios.com
Capacity: 620
Equipment: PA, lights
Headliners: Brian Wilson (The Beach
MastanMusic Studio
Boys), David Crosby (Crosby, Stills,
1028 SE Water Suite 230
Nash And Young), Richard Thompson,
Portland, OR 97214
John Hiatt, John Prine, Beck, Emmylou
Harris, Everclear, Roger Hodgson
Mississippi Studios
(Supertramp), Tragically Hip, Nils
3933 N Mississippi,
Lofgren (Crazy Horse/e. Street Band),
Portland, OR 97277
And Indigo Girls.Warren Zevon, Ray
Studio Phone: 503-753-4473
Davies, Chic Corea, Keb Mo, Paula
Web: www.mississippistudios.com
Cole
Momentum Studios
109 SE Salmon St. Ste C
Portland, OR 97214
Phone: 503.239.6983
Web: www.momentumstudios.com
Opal Studio
6219 S.E. Powell
Portland, OR. 97206
Phone: 503-774-4310
Web: www.opal-studio.com
Owner: Kevin Hahn
Reynolds Audio Production
/ Cool Blue Studio
SW Portland
(call or email for directions)
Phone: 503-892-6268
Alberta Street Pub
1036 NE Alberta St. Portland, OR. 97211
Phone: (503) 284-7665
Format: Acoustic Music Venue
Non-smoking Bar
Booking: Please send a press kit,
including CD and Bio to the Pub
Attn: Kris Strackbein
Booking email address is [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 please
Capacity: 150
Equipment: PA, mics, lights
Artichoke Community MusicBackgate Stage Theatre
3130-A SE Hawthorne Blvd.
Portland,OR. 97214
Phone: (503) 232-8845
Web: www.artichokemusic.com
Format: Acoustic Music
Booking: [email protected]
Capacity: 60
Equipment: Renter provides all PA
equipment
Ash Street Saloon
225 SW Ash Street.
Portland, OR 97205
Bar Line: 503-226-0430
Fax: 503-227-2403
Format: Acoustic, Alt. Rock, Blues,
Funk
Booking: Heather
Web: www.ashstreetsaloon.com
Capacity: 350
Equipment: PA, mics, lights
Web: www.clydesprimerib.com
Format: Jazz, Blues, and R&B
Booking Clyde Jenkins
Capacity: 100
Equipment: PA
Phone: (503) 808-9600
Booking: David MacKay
Format: Blues
Capacity: 40
Equipment: PA and lights
Crystal Ballroom
1332 W. Burnside
Portland, OR 97209
Phone: 503-225-0047
Format: All Types
Booking: Joe Shore.
Web: www.mcmenamins.com
Capacity: 1500
Hawthorne Theatre
1507 SE 39th Ave
Portland, OR 97214
Phone: 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
Dante’s
1 SW 3rd Avenue & Burnside
Phone: 503-226-6630
Fax: 503-241-7239
Format: Live music and cabaret 7
Berbati’s Pan
231 SW Ankeny Portland, OR 97204 nights a week.
Booking: Frank Faillace
Venue: 10 SW 3rd Avenue, corner of
3rd and Ankeny
Phone: 503.226.2122 1) for a calendar Web: www.danteslive.com
of events 2) for location and directions Capacity: 400 with tables /
3) for booking 4) to reach a live human 600 without tables
Fax: 503-417-4222
Format: All music Booking: Anthony
Devil’s Point Bar
Sanchez.
5305 SE Foster Rd Portland, OR
Web: www.berbati.com
97206
Capacity: 500
Phone: 503-774.4513
Format: Rock’n Roll Strip Club
Load-in: mid-block on 3rd Avenue
Booking: Frank Faillace
between Burnside and Ankeny
Web: www.myspace.com/devilspoint
The Buffalo Gap Saloon
Capacity:
6835 SW Macadam Ave
Portland, OR 97219
Phone: 503.244.7111
Doug Fir Lounge
Fax: 503.246.8848
830 East Burnside St.
Format: blue grass to pop Rock
Portland, OR 97214
For booking a show send a promo kit Phone: 503-231.9663
to The Buffalo Gap Saloon C/O Book- Format: rock
ing 6835 SW Macadam Blvd.
Booking: Unsolicited submissions
Portland, OR 97219
from bands and DJs are always
Booking: Matt Roley.
accepted by Doug Fir. Please send a
CD and current press kit including
Songwriter Showcase/Open mic night photo and bio to: Booking Doug Fir
inquiry Contact: Matthew Kendall
Lounge 830 East Burnside St. PortEmail: [email protected] land, OR 97214
Web: www.thebuffalogap.com
Web: www.dougfirlounge.com
Capacity: 85
Capacity: 299
Candlelight Cafe & Bar
2032 SW 5th Portland, OR
Fez Ballroom
Phone: 503-222-3378
316 SW 11th Ave
Portland, OR 97205
Fax: 503-223-8175
Format: Blues, Soul, R&B
Phone: 503-221-7262
Booking: Joe Shore.
Format: All music, DJs, Danceing
Booking: Micheal Ackerman
Web: www.candlelightcafebar.com
Capacity: 110
Web: www.fezballroom.com
Capacity: 300
Clyde’s Prime Rib Restaurant and Bar Equipment: PA, lights
5474 NE Sandy Blvd.
Portland, OR. 97213
Halibuts
Phone: (503) 281-9200
2525 NE Alberta St. Portland,OR. 97211
Jimmy Mak’s
221 NW 10th Ave. (between Davis and
Everett) Portland, OR 97209
Phone: 503-295-6542
Format: Jazz
Web: www.jimmymaks.com
Capacity: 140 + 40 SRO
HOURS Mon-Wed : 4pm-1am
Thurs-Sat : 4pm-2am
Sun : Closed
Music begins at 8pm
LaurelThirst Public House
2958 NE Glisan
Portland OR 97232.
Phone: 503-232-1504 (not for booking
calls)
Format: Acoustic Roots
Booking: Lewi Longmire
Booking Phone: 503-236-2455
Web: http://mysite.verizon.net/
res8u18i/laurelthirstpublichouse/
Capacity: 100
Mississippi Pizza
3552 N Mississippi Ave
Portland, OR 97227
Phone: 503-288-3231
Booking line: 503.888.4480
Format: All (No loud music residential
neighborhood)
Booking: Sunny.
Send Promo Kits w/music To: Sunny/
Music Booking Mississippi Pizza Pub
3552 N. Mississippi
Portland, OR 97227
Booking Email:
Rock’n Roll Pizza
11140 SE Powell Blvd.
Portland OR 97266
Phone: 503-760-7646
Format: Rock
Mississippi Studios
Booking: Dave
3933 N Mississippi,
Email:
Portland, OR 97277
[email protected]
Box Office: tues-fri 2-6: 503-288-3895 Web: www.rocknrollpizza.com
Format: Singer songwriter
Capacity: 500+
Booking Submissions: Mississippi
All Ages area with full bar for those
Studios 3939 N. Mississippi,
Portland, OR 97227
over 21
Booking: Caroline
Email: [email protected] Roseland Grill
Manager: Jim Brunberg
Located in the lower level of the
Roseland Theater
Web: www.mississippistudios.com
8 NW 6th Avenue
Portland, OR 97209
Capacity: 100
Equipment: PA
Phone: 503-224-2038
Format: All music
Mt. Tabor Legacy
Booking: David Leiken
4811 SE Hawthorne Blvd,
Web: www.doubletee.com
Portland, OR 97215
Capacity: 400
Phone: 503-232-0450
Format: Rock’n Roll Booking
Roseland Theater
Web: www.mttaborlegacy.com
8 NW 6th Avenue Portland, OR 97209
Capacity: 600
Phone: 503-224-2038
Format: All music
Web: www.doubletee.com
Ohm
Capacity: 1400
31 NW 1st Ave.
Portland, OR 97209
Phone: 503-241-2916
Satyricon
Format: Blues, Jazz, Acoustic, Pop,
125 NW 6th Ave
Alternative
Booking Email: booking@ohmnight- Portland, OR 97209
Phone: coming soon
clubpdx.com
Format: punk, hardcore, metal, indie
Club Rental: [email protected] music.
Web: www.ohmnightclubpdx.com
Capacity: 250
Web: http://beta.satyriconpdx.com
Capacity: 450
Hours: Open 9pm to 2am Tuesday Equipment: PA, lights
Saturday All events 21+
Office Hours: Mon, Wed, Fri
Tonic Lounge
12:30p-5p
3100 NE Sandy Blvd
Portland, OR 97212
Outlaws
Phone: 503-238-0543
722 E Burnside St Portland, OR 97214 Format: Rock
Phone: 503-233-7855
Booking: Dave Gaysunas
Format: Rock
Email: If you want to book a show send
Booking: Geoff Minor
us an email with a link to some music
online to
Web: www.outlawsbar.com
[email protected]
Web: www.myspace.com/thetoniclounge
Capacity: 800
Capacity: 215
[email protected]
Web: www.mississippipizza.com
Capacity: 50-60
Equipment: PA
Red Room
2530 NE 82nd Ave
Portland, OR 97220
503/ 256.3399
Format: All Types
Booking: We encourage performers
to check out our booking blog and
contact us through MySpace (prefered
method)
Capacity: 107
Tony Starlight’s Supperclub-Lounge
3728 NE Sandy Blvd ,
Portland, OR 97232
Phone: 503-517-8584
Format: Jazz, Dixieland, Vocalists,
Swing, Big Band and Neil Diamond!
Booking: Tony Starlight
Owner: Tony Starlight
Web: www.tonystarlight.com
Capacity: 75
Tug Boat Brewery
711 SW Ankeny St.
Portland, OR 97205
Phone: 503-226-2508
Format: Jazz
Owners: Terry Nelson and Megan
McEnroe-Nelson
Web: www.d2m.com/Tugwebsite/
Capacity:
White Eagle
836 N. Russell St.
Portland, OR 97227
Phone: 503-282-6810
Format: Blues, Rock
Booking Email:
[email protected]
Web: www.mcmenamins.com/index.
php?loc=55
Capacity:
Wonder Ballroom
128 NE Russell,
Portland, OR 97212
Wonder’s Mailing Address:
Phone: 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)
Video Production
One Bad Cat Media
Phone: (971) 235-1282
Web: www.onebadcat.com
Contact: Paul Lawrence
Momentum Studios
109 SE Salmon St. Ste C
Portland, OR 97214
Phone: 503.239.6983
Web: www.momentumstudios.com
Video Media
2580 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
Interlace Audio Production
457 NE Birchwood Dr.
Hillsboro, OR 97124
Website: www.interlaceaudio.com
Phone: 503.681.7619
www.omhof.org
Oregon Music Hall of Fame Honorees
Mark Bosnian
Bus Boyk
Steve Bradley
Meredith Brooks
Mel Brown
Richard Burdell
Craig Carothers
Robert Cray
Paul Delay
James DePreist
John Fahey
Buddy Fite
David Friesen
Tom Grant
Woody Hite
Duane Jarvis
Herman Jobelmann
Lloyd Jones
Nancy King
Jeff Lorber
Rose Maddox
Thara Memory
Jim Mesi
Dead Moon
Glen Moore
Shirley Nanett
Chris Newman
Gary Ogan
Jim Pepper
Hank Rasco
Johnnie Ray
Fritz Richmond
Greg Sage
Curtis Salgado
Carl “Doc” Severinsen
Ron Steen
Turtle Vandermarr
Leroy Vinegar
Mason Williams
Don Worth
Dan Reed Network
Johnny & The Distractions
Kingsmen
Nu Shooz
Paul Revere & The Raiders
Pleasure
Quarterflash
Billy Rancher & The Unreal
Gods
Shock
Upepo
OREGON MUSIC HALL OF FAME INDUCTION CEREMONY
Mark Saturday, October 13, 2007 down on your calendar!!
This is the date of OMHOF’s inaugural Hall of Fame Induction Ceremony. This promises to be the largest collection of home grown, AllStar musical talent ever assembled in the State of Oregon.
This gala event will be held at the Roseland Theater. All of the current
Hall of Fame inductees will be honored, and several new members
will be inducted. OMHOF is currently inviting all living inductees to
attend this ceremony, and we are in negotiations to have many of
them perform. Take a look at the Hall of Fame member list and you
will see that this is an impressive array of talent indeed. As we get
closer to the ceremony date, the names of the participating artists will
be released.
This event will feature pre and post ceremony VIP parties, as well as
live sets of our Hall of Fame members performing in Blues, Pop, Jazz,
and other musical genres. This will undoubtedly be one of Oregon’s
hottest musical events in 2007. Don’t miss it!
photo Buko
Robert Cray
You can become a member of OMHOF for just $30.00 a year. When you become a member you will receive an
OMHOF T-shirt and membership card, you will receive quarterly updates on the progress of OMHOF, and you
will be notified of our upcoming concerts and fundraising events. You will also have the satisfaction of knowing
that you are helping to preserve and promote the musical arts in the State of Oregon.

Buko mag v1-n2 web

Transcription

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