Buko mag V2-N2 web

Transcription

Buko mag V2-N2 web

Volume 2 Number 2
Inner-Vu
Featuring Bob Stark
CSN Celebrate
40 years
GBU
the Daddies
Licensing Your
Masters Overseas
Music
Resource
Guide
The Band
Terry Robb
Always Electric
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photo Buko
Contents
p4
p7
p8
Licensing Your Masters overseas
by Bart Day
Exploring your Music
by Doug Dyer
Top selling 20 Portland Artists for June 2008
1. Death Cab for Cutie - “Narrow Stairs”
2. China Forbes - “’78”
3. She & Him - “Volume One”
4. Helio Sequence - “Keep Your Eyes Ahead”
5. Spoon - “Ga Ga Ga Ga Ga”
6. Pink Martini “Hey Eugene”
7. Builders & the Butchers - “Builders & the Butchers”
8. Pink Martini - “Hang on Little Tomato”
9. Lewi Longmire Band - “Fire ‘neath the Still”
10. Pink Martini - “Sympathique”
11. Various - “PDX Pop Now 2008”
12. Floater - “Acoustic Live at the WOW”
13. Pierced Arrows - “Straight to the Heart”
14. Amelia - “Long Lovely List of Repairs”
15. Shins - “Wincing the Night Away”
16. Decemberists - “Castaways & Cutouts”
17. Gossip - “Live in Liverpool”
18. Tracy Grammer - “Book of Sparrows”
19. Stolen Sweets - “Shuffle Off to Buffalo”
20. Various - “Kink Lights Out Nine”
Inner-Vu, an interview with Bob Stark
Johnny Martin looks inside the studio
p13
Electrifing the Blues with Terry Robb
by Ty Hitzmann
p16
the X-Files
CD reviews
by Ximena Quiroz
CSN: Celebrate 40 Years
by Jeanne Galarneau
p18
p17
The Good the Bad and the Ugly
by SP Clarke
My TyPod
by Ty Hitzmann
p24
p22
The Band
the Misadventures of Noise Pollution
By Mike D. Light
Buko’s Eyefull
Girls and Guitars
By Buko
p25
p26
Music Resource Guide
July 2008
• Established 2007 •
by Buko Publishing
Fearless Leader / Graphics: Buko
CFO: Jeannine Dawson
Media: Get Up Media
Photos: Buko • Jeanne Galarneau • Ty Hitzemann •
Writers: S.P. Clarke • Bart Day • Doug Dyer
• Jeanne Galarneau • Johnny Martin • Ty Hitzemann •
Keith Robert Laurent • Mike D. Light • Ximena Quiroz
Printed by: Oregon Lithoprint
Buko Magazine LLC
PO Box 13480 • Portland, OR 97213
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Buko magazine Vol.2 No.2 - 3
I
f you are an artist or indie
label, one way to significantly
expand your universe is to
license your master recordings to record
companies outside the United States.
There are various advantages of doing so. Aside from the obvious
advantage of generating additional record sales, there is also the advantage of
creating a relationship with a record company outside the United States who
will have various music business relationships in that foreign country and
who can connect you up with booking agencies, venues, festival organizers,
music publishers, etc. in that territory. This may enable you to do touring
and to build an audience in those countries that otherwise might not be
practical to try to do.
label or artist, if its records are already selling well in the U.S. and the artists already have
a significant reputation in the U.S.
BASIC DEAL POINTS
The basic deal points of the typical music licensing agreement are as follows:
1. Scope of License. The license may cover only one or a few specified recordings,
or may cover your entire catalog. It is sometimes a good idea to start out with less than
your entire catalog, so that you can “test drive” the relationship first, before committing
your entire catalog.
2. Territory. If you are licensing masters to indie foreign labels, you will normally
be licensing only for a particular county or for a particular group of countries. Often
the agreement will be for so-called “bundled countries,” such as Benelux (standing for
Belgium, the Netherlands and Luxembourg) and GAS (Germany, Austria, and Switzerland). On the other hand, if you were entering into a foreign licensing agreement with
one of the major worldwide labels, such as WEA or BMG, you might be licensing your
masters to one company for all countries outside the United States in one fell swoop.
As a practical matter, though, a deal with one of the “majors” is normally not available
to a U.S. artist or label unless you already have major sales in the U.S.
Incidentally, if the territory is defined in the licensing agreement as the “European
Union” or similar terminology, the territory will in effect change over time as more
countries join the European Union.
by Bart Day
Entertainment Attorney
THE BASICS OF LICENSING
When you enter into a music licensing agreement with a foreign record
company, you are in essence authorizing them to duplicate and sell copies of
existing masters, in exchange for paying you a royalty for each record sold. The
label is responsible for paying all costs, such as the costs of manufacturing,
promotion, and advertising, and it is up to the foreign label to manufacture
CDs and to get those CDs distributed in their territory.
One alternative to a foreign licensing arrangement is to manufacture
your CDs in the United States yourself, then export them to distributors in
other counties. However, one big disadvantage in going the “export” route,
at least if you do it legally, is that for most foreign countries, you will usually be paying
a government-imposed tariff in those countries of 20% to 40%. Also, a distributor gets
a much smaller piece of the pie, and generally is not going to do the level of proactive
marketing and promotion that will need to be done to break you successfully into
foreign markets.
As a result of these various factors and others, the best alternative for the vast
majority of U.S. indie artists and labels trying to break into foreign countries is going to
be a licensing arrangement with labels based in those countries, rather than a distribution
agreement in those countries.
“
3. Term. Typically the term of the agreement will be for five years, though sometimes such agreements are for three years and sometimes for seven years. Generally, the
smaller the advance, the less of a justification there is for entering into a longer term.
Normally, there is also a “sell off” period added to the end of the term of the
agreement, which allows the label to sell off any existing inventory for an additional six
months to a year after the end of the term. If there is a “sell off” period included in the
agreement, it is wise to add a clause prohibiting the label from manufacturing more
copies of a CD during the original three, five or seven year term than they can reasonably expect to sell during that three, five or seven year term.
A practical tip: As soon as the licensing agreement expires, it is a very good idea to
send the label a “Notice of Termination” even if the contract doesn’t require it. (It usually doesn’t.) Otherwise, there is a significant risk that the foreign label will, innocently
or not so innocently, continue selling your records. The risk of that happening can be
significantly reduced by sending them a “Notice of Termination.” Be sure to send any
such notice in such a way that you have proof that it was actually received.
4. Exclusivity. Normally the agreement is “exclusive,” in which case you cannot
later authorize any other company in that territory to sell your records during the term
of the licensing agreement.
5. Royalty Rate. Unlike the United States, where royalty rates are usually based on
the retail price of records, the royalty rates in most other countries are based on some
price that is somewhere between the wholesale price and the retail price. For example,
in some countries the price is based on the “PPD” (“Published Price to Dealer”) price.
As a general rule, it is going to be much easier for a U.S. label or artist to get a foreign
licensing deal, and especially a deal on terms that are quite favorable to the U.S. label or
artist, if its records are already selling well in the U.S. and the artists already have a significant
reputation in the U.S..
”
APPROVAL RIGHTS
A U.S. label that wants to enter into licensing arrangements with one or more
foreign labels must first make sure that it has the rights to do so under the terms of its
recording contracts with its artists. If the label doesn’t already have such rights, then the
label needs to get its artists’ approval before entering into any such licensing arrangements with foreign labels.
NEGOTIATING CLOUT
As a general rule, it is going to be much easier for a U.S. label or artist to get a
foreign licensing deal, and especially a deal on terms that are quite favorable to the U.S.
4 - Buko magazine Vol.2 No.2
In other countries, like France, they often use the so-called “BIEM-IFPI” rate.
Typically, the royalty rate is in the 15% to 20% range (and sometimes more) –
which is higher than the typical rate in the U.S. – because the foreign royalty rate is not
based on the retail price as in the U.S., but instead (as mentioned above) on a price that
is significantly lower. Hence, in order for you to come out roughly the same in terms of
dollars and cents, the foreign royalty rate has to be higher.
In any event, here are a few random tips about evaluating the royalty rate being
offered:
A. The best way to evaluate the royalty rate is to run the royalty calculations and
figure out what you will be earning for each record in dollars and cents, rather than
getting fixated on percentage rates etc. In order to do any useful number crunching,
you will need to find out the exact price that the label is currently using, then convert
that amount to U.S. dollars, and then do your royalty calculations based on the royalty
terms contained in the proposed licensing agreement.
B. There is often a difference from one county to the next in regards to what are
considered acceptable royalty provisions. What is customary in one country is often not
customary in another country. So, if you are negotiating royalty provisions for particular
foreign countries, you need to know what is customary in that country. For example,
in the U.S., royalties are typically not paid on promotional free goods that the record
company gives away, but in some other countries that is not the case.
C. If you’re comparing offers from two or more companies, you need to investigate and compare the reputation and financial stability of each company. You can
sometimes end up doing much better financially with an average deal from a relatively
honest company than you will do with a great royalty rate from a crooked or financially
borderline company.
D. If the licensing agreement contains any definitions of, for example, the “PPD”
price, read the fine print very carefully.
6. Advances. The amount of the advance that is paid, if any, will depend
on the foreign label’s forecast of how many records can be sold in their territory.
Advances vary wildly and can be anywhere between $500 and $50,000 (but
sometimes higher and sometimes lower).
In some cases, it will make sense for you to enter into the licensing agreement even
if the advance is minimal, if there is a good chance that your relationship with the foreign
record company will significantly help you to get established in their territory. By the same
token, because of the difficulty of auditing foreign countries and trying to collect money
from foreign companies, often times you have to assume that the advance is the only
money that you will ever see from the deal.
By the way, the advance should be described in the contract as being nonrefundable (i.e., you won’t have to ever pay it back). Also, the advance is normally
deemed “recoupable” (i.e., the label can reimburse itself for the advance from your
future royalties), so if your advance is $5,000, and if the total royalties end up being
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$15,000, the label later will pay you only $10,000 (i.e., the $15,000 in royalties minus
the $5,000 advance).
7. Release Commitment. You should have a clause in the licensing agreement
requiring the label to release the record by a certain date, and that if they don’t do so,
you have a right to terminate the agreement.
For masters that already exist at the time of the licensing agreement, you will
normally want to have a fixed calendar date by which time the record has to be released.
For records not yet recorded, but that will be recorded and released during the term
of the licensing agreement, the release commitment is usually 90–120 days within the
date of your delivery of the master to the label.
You want to be careful that the contract language is very specific and precise, and
you will also want to be sure to ship the masters in such a way that you will later be able
to prove the exact date of delivery if necessary.
8. Sharing in Other Types of Income. Sometimes there is potential income from
sources other than record sales. For example, a U.K. ad agency might want to use a
track in a film, and so the licensing agreement needs to deal with this scenario. If at all
possible, have the contract provide that the rights to enter into those kinds of deals stays
with you and are outside the scope of the licensing agreement. By the same token it
usually makes sense to give the label the piece of any such deal that they find for you,
so that they have a motivation to make such deals happen.
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Sometimes the contract will say that the foreign label
has the rights to enter into such deals for your masters, but
only for territory/countries covered by the agreement,
and that in return, you will receive a share of the income
from such deals.
The bottom line here: The main thing you absolutely
want to avoid here is a contract that gives a foreign label
the right to enter into such deals, but doesn’t spell out your
rights to receive a certain specified share of the income
from such deals.
9. Payment. Payments are usually made semiannually. The agreement should provide for the royalties to
be wired to your account at the label’s expense (as opposed
to the label mailing you a check, which can cause very long
delays in your actual receipt of the money and the clearing
of the check).
10. Foreign Taxes. You will also normally want
a clause requiring the foreign label to help you file the
necessary paperwork with the foreign government(s)
involved, so that the foreign label will not have to withhold foreign taxes from the royalties that are otherwise
payable to you. If that is not possible, you will at the very
least want some arrangements whereby the foreign label
“
the “Reference Librarian” at your local library to see if they
might have a copy on hand that you can use, and if not, ask
if they can borrow a copy for you through an inter-library
loan from another library.)
Also, some Internet searching can be very helpful in
locating foreign labels that are appropriate for you.
Before submitting material to a foreign label, it’s
usually a good idea to send them a professional and nonhypey e-mail first, just to find out whether they are even
interested in considering your material.
2. Tip Sheets. Tips sheets such as “New On The
Charts” allow subscribers (and sometimes non-subscribers) to post a listing of masters that they have available
for licensing.
3. Referrals. Check with any established artists
and American labels that you know of, in case you think
they might be able to turn you on to appropriate foreign
labels.
4. MIDEM. There is a large international music
business conference in Cannes, France every year (in late
January), called “MIDEM,” where people negotiate music
licensing deals. The practical side of it is that unless you are a
well financed artist or label, it won’t be affordable to attend
that conference. One alternative is to buy the MIDEM con-
Unlike the United States, where royalty rates are
usually based on the retail price of records, the royalty
rates in most other countries are based on some price
that is somewhere between the wholesale price and
the retail price.
”
gives you a formal statement at the end of each year as to
the amount of foreign taxes that were withheld that year,
so that you can claim the appropriate tax credits on your
United States tax returns.
11. Audits. There should be a clause allowing you
to audit the foreign label’s business records, and providing
that if there is a discrepancy of more than 10%, they must
pay your audit costs. However, as mentioned above, it
very likely will not be practical for you to audit the foreign
label’s business records, but you want to have that option
if at all possible.
MECHANICAL ROYALTIES FOR FOREIGN SALES
Mechanical royalties –- i.e., the royalties that record
companies pay to music publishers/songwriters based
on how many records are sold –- are handled differently
almost everywhere outside the U.S. than they are handled
in the U.S.
The details are really too complex to cover well
here, but the main thing to remember is this: If you are
an artist who is also a songwriter, or if you are a label that
also operates as a music publisher, and if your material is
on records being sold outside the U.S. and Canada, and if
you are not represented by a worldwide music publisher
and have not entered into sub-publishing agreements with
foreign publishers, then you need to take the necessary
steps to make sure that you receive the foreign mechanical
royalties that you are due.
HOW TO FIND MUSIC LICENSING OPPORTUNITIES
There are a various ways to find music licensing
opportunities, for example:
1. Researching Foreign Labels. You can obtain the
necessary contact information from such directories as
the Billboard International Buyer’s Guide. (Check with
ference directory, which you can use as another resource
directory to locate appropriate labels.
Incidentally, there are occasionally people who will
advertise that, for a cash fee, they will shop your material
at the MIDEM conference. Be very careful with any such
arrangements and check those people and their track
records out thoroughly. You obviously don’t want to find
out after the fact that you have just financed someone’s
vacation in the south of France and have nothing to show
for it.
Note: Bart Day is a Portland-based entertainment
attorney in private practice and outside music counsel for
Vivendi Universal Games, the computer games unit of Universal Studios. He is also VP of Business Affairs for Media
Creature Music, a Los Angeles music publisher and catalog
administration company.
Bart is the co-author of the book Music is Your Business:
The Musician’s FourFront Strategy for Success. He is also 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.
Exploring your Music
by Doug Dyer
hardware; multi-channel audio interfaces, nicer mics & mic pres, and or higher quality converters you can do quite a bit with a mid range MacBook Pro or iMac
The power and performance that can be had in this mid range level ($8K to
$12K) is astonishing and honestly rivals $20K & $30K dollar systems from just a few
years ago. Many more musicians are looking at this type of set up - which allows them
to explore not only their own music but that of their friends and partners as well.
So as an example a mid-range iMac, Digidesign 003 rack hardware and
software, Digimax xlt (for up to 16 tracks of input) several basic
mics and maybe a real nice Neumann or Audio Techinca mics
for vocals, cable and monitors can all easily be had in this $10K
ish range.
And fear not! if you’re already an established studio or
artist and you want to take it to the next level - don’t you worry
we can keep on going well into the $100,000 and beyond range
for a very professional set-ups that rival that of the big boys in
New York & LA.
For this kind of level you can get dedicated audio hardware
for up to 96 physical channels of 192khz audio, full tactile control
over the entire mix & enough DSP to put a guy on mars - with
enough plug-ins & effects that would make even the real serious
engineer / artist turn red (or green for that matter!)
A new 8 core dialed up MacPro tower with up to 32 gigs
of RAM, 4 terabytes of local storage is one serious player. - The
addition of some major Pro Tools HD hardware (Both cards
in the computer and Audio Interfaces in the racks), along with
ethernet control surfaces would be a great cornerstone for any
high-end artist / studio venture.
Conclusion: So whether your just a simple single songwriter
trying to capture your first songs -OR - a multi-piece band trying
to get that sound - OR even a well established artist (studio) trying
to “go Pro” with todays computer music technology - You Can!
Now is a great time to take a look at what is available in the realm
of computers and music and explore the possibilities for yourself.
I wish you a safe journey - good luck and have fun.
W
aroun
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12
9
6
Note: Doug Dyer is a long time Pro Tools guru, he owns and operates Sound Thinking, one of the Northwest’s Premieres Digidesign dealers. He has built rigs of every level of
size and complexitry from entry level laptops for students up to full on HD rigs for Steve
Miller Band & the Blazers. He currently works several days a week with the folks over at
the MacPac and is very knowledgeable when it comes to computer audio systems in general
and Digidesign’s Pro Tools family of products specifically. If you have any questions or
would like to contact him personally feel free to reach him at the MacPac 503-256-5210
or doug@soundthinking.com
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2329 NW 23
Place, Port
503.241.2609
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Ro
ith the current state of computers in both Hardware and Software,
now may be a great time to explore your music. Computers are
becoming relatively inexpensive but they still offer end users plenty
of hutzspa... - Speed, power, performance to cut through even the most serious of
audio projects.
There are several factors that would back up that statement. And if we look
at three basic levels of entry into this computer-aided music concept you start to
get the idea that a base investment in a personal recording set-up
makes a lot of sense.
Lets start with a basic entry level single singer songwriter
(selling seashells...) user; they’ve got lots of ideas, have maybe
even recorded to tape or some other dedicated recorder., and are
really wanting to play with their ideas. A simple Mac Laptop or
iMac with GarageBand is a great starting point. ***A word of caution here, I am a confirmed “Mac-Guy”
both personally and professionally so this article while having a
decidedly Mac slant to it, shouldn’t dissuade you from the basic
facts - and so while I mention “Mac specific” products and developers - many of the same things could be said of my brethren on
the other side of the PC / Mac fence. As much as a fan of the Mac
as I am, I know that there are an equal or even greater number of
PC fans as well. So for those I hope that the generalities of this
article help you more than the specifics. ***
Now, back to our single singer songwriter selling seashells...
An entry level MacBook with a small external firewire drive for
recording to, and a simple audio interface (like a griffin iMic) is a
great place to start figuring out what you can really do with your
music. GarageBand comes loaded on all new MacBooks (and
iMacs) and has opened the door for many who have transitioned
(usually rather quickly) up to the next level - like a Logic Express
or Pro Tools -M-Powered still contained in the same laptop /
simple I/O set up.
A really good entry level system: Macbook w/software, good converters, O.K.
mic pres, good microphone, dedicated recording drive, headphones and cables can
be put together for between ($3K to $5K) and would serve you well as a platform
on which you could start with and be able to expand later.
BTW: whenever possible you should always try to have a dedicated recording
hard drive especially in a laptop set-up. It creates better overall system performance
and takes a lot of the weight off of the laptop, (hopefully increasing its lifespan)
But what if you’re more than just one guy? Say you’re part of an ensemble,
group or band and you just need more than a simple single/double channel audio
interface can bring you. Well that’s where we see the most significant strides by folks
these days (Both artists and developers). So with the addition of some more serious
rockaroundtheclockpdx.com
rockaroundtheclockpdx@gmail.com
T
photo by Johnny Martin
Are you saying create a Bob Stark effects library?
Well, sort of. There are ambient things I do which show up on people’s recordings
and they don’t complain.
Ambient things. Are those things that you brought from the outside in or is that an
effect that you do in mixing?
Combination of that.
Do you have a morning routine?
I wake up when my wife wakes up, watch a bit of CNBC, get a
shower, eat breakfast and head to the studio.
Thanks for meeting me Bob.
A session prep routine?
No problem.
A lot of times I just walk in and work. If I’m working on a mix, it’s
And congratulations on your Latin Grammy Nomination. (masjust turn on the computer- go. The session prep for yesterday was
tering)
get in here and meet the drummer to get the gear in, and while the
Oh, Vayo’s “Tango Legends”- thanks.
drum tech is working, get the drum mics set up. Just basically be
Now, this is called Big Trees?
ready for what’s going to happen that day.
It’s kinda of an interesting situation. My company is Big Trees Music,
So in terms of the drums, that takes more time. Is the drum tech
and I’ve located all my gear here at Kung Fu Bakery. So the facility is
yours or his?
Kung Fu Bakery but my personal business is Big Trees Music.
Just someone hired for the session. He’ll tune the drums and make
Now, was Big Trees somewhere else before?
them sound really great. This is a Portland casualty- there are not a
Big Trees used to be a combination of myself and Jeff Leonard. We
lot of drummers in town that know how to tune their drums. There
parted ways on friendly terms and we still work together a lot.
is only a couple guys in town I know and trust.
Jeff Leonard the bass player?
You know their names might be useful to Buko readers…
Yeah.
OK. Greg Williams is one, Mike Snyder is another. These guys
How long have you been making Big Trees services available?
make the drum-kit work for each tune. They don’t get just one
Oh, it’s going on ten years now. I’ve been doing my own thing here
drum sound that you live with for the whole session, whether it’s
at Kung Fu Bakery since Nov. 2000.
appropriate or not.
What is the goal of your studio?
How long have you been recording, since you were a kid?
To work on good music always.
If you want to get back to the earliest part of it- probably in high
Do you ever listen to your first demos?
3319 SE Division
school, me doing demos for my band. Not recording as an engineer,
Oh yeah. I think a lot of it is that I’ll go back and listen to the music
503-238-GITR
I enjoyed.
guitarcrazymail@aol.com but as a player. Budgets were really limited, and an eight track studio
So you find “the song” maybe bringing you back?
www.guitarcrazy.com back then costs what a full-blown facility costs now! So the bang
for the buck has definitely increased over the years.
Exactly. It’s more about the song.
But maybe you’ve been recording for 20 years?
What do you mix down to?
As an engineer, ’83…so we’re coming up on 25 years now.
Right now I’m mixing to the hard drive thru Lavry converters.
Twenty-five years, and are you still learning something on every session?
Preferred would be ¼” at 30ips with Dolby SR.
Probably not on every session. I have learned deeper and deeper patience.
Do you have time for experimentation?
(laughter) OK I think I know where you’re going with that…
Not as much as I’d like. But I’m working on McKinley’s next album and we’re experiI think one unfortunate thing, and I’m hoping some bands will prove me wrong- is
menting with filtering noises and creating drum sounds with stuff from the garbage
etc. I want to do more of that stuff on my own time and build to my bag of tricks.
he best musicians in Portland have been trusting their sessions and mixes
to this man for more than twenty years. There isn’t a local engineer or
producer that doesn’t know his work. And “work” is a fitting word. He
does it at a high level and with great skill. He comes across as a very genuine person
with years of experience to back up his decisions.
I found his understated manner, depth of music theory, and respect for song-craft
to be a “perfect mix”.
that there’s been deteriorating musicianship. Now when I’m getting young bands in,
they really don’t have a very large musical vocabulary. I feel odd, and it may be just an
age thing, because I’ve done so much music, but I can write their tunes out as they’re
playing them.
You have a sense of the chord structure, and they may not even know what they’re
playing?
Yeah. I think the song writing HAS notched up over the years, But the musicianship
has deteriorated. I think computers have helped with that, because “oh now we can
tune- now we can slide things…and we used to have to play it. I love when a young
band comes in and they can play.
Do you find yourself wanting to help bands like that, or wanting to?
Wanting to. I think the biggest band I’ve been involved with in town lately is Intervision.
What drew me to them was that they could actually play their instruments and they
have good song writing. Paul and Tony, the guitarist and vocalist are just fabulous
songwriters.
What type of music have you yet to record?
Done grunge, metal, pop, jazz, classical, funk, hip-hop, chamber, string quartets, big
band… You know what I haven’t done, but I enjoy doing on the side is electronic
music.
You mean dance- like rave?
Um, chill. It’s music that people usually do on their own so it’s not like somebody’s
gonna come to me and go, “produce my chill album”.
What do you like to monitor on- speaker wise?
Focal. Secondary set is the NS-10’s. I’ve worked on them for over twenty years.
So there’s a known entity there. What do you look for on each?
On the Focals I look for detail in the upper-mids. There’s a crossover point between the
Musicians Union
www.afm99.org
Artistry Advocacy Unity
woofer and tweeter, and the Focals are the first monitors that I don’t hear that on. The
transition from lows to highs is very smooth so it allows me to hear a lot of details on the
mids and upper-mids, and for me that’s very critical to get separation happening.
And that’s a main area that will distort a speaker right?
Yeah. And on the NS-10’s, I’m kind listening for punch. Unlike a lot of people, I turn
the NS-10’s up and I want to feel it hit me. They’re harsh and everything and I can’t
be on them for more than ten-fifteen minutes at a pop.
Now which one do you turn down?
Let’s just say I’m turned down most of the time.
You usually mix quietly?
Yeah. 65 to 70db.
Can you share a moment that elevated your engineering skills?
In an oddball way, when I was working on some mixes for McKinley up in Seattle and
David Torn was the producer. Torn is deaf in one ear and he was pretty amazing to
me because he would look at the console, and see how I had things panned and laid
out… He’d be essentially listening in mono, and making incredible changes like “ try
this- make this really pop out…” and now when I go back and listen to that album,
I know I took a lot away from that session because now my sense is to always make
some event popping out- something for the listener to listen to. Something new for
them to hear each time.
Wow, that’s an interesting approach.
I had a sense of staging a mix before , but working with him really pushed that envelope.
Which part of your studio are you hoping to upgrade soon?
Console. I’m using Sony DMXR100, and I’m thinking there are three consoles in the
running. A Neve 5088, an SSL AWS900, and Digidesign Icon- which is probably the
least likely. This is a mid-term goal- end of this year to three year range. One of my
favorite engineers in town, Dean Baskerville, is a very SSL competent guy, and has
expressed an interest in doing more work in this room. So that would get me out of
the studio a little bit and still generate a bit of income. Everybody’s dream…FREE
MONEY! (laughter) It’s not saying I want to engineer less, just more places other
than here.
You’d like to be more selective, and pick better projects?
Yes, exactly.
Are there a few engineers that you hold in esteem?
George Massenburg and Bob Clearmountain.
With Bob what is it, clarity?
Not some much clarity. It’s like how dense he’s able to make a mix and not make it sound dense. There’s
a lot going on! Listening to Jonatha Brooke’s “Careful what you wish for”, the title cut on that sounds
like a Queen tune. So he handles that really well. And the stuff he did with David Bowie is beautiful
sounding.
So is it a depth thing?
It’s a punch thing. Like that thing where I said you go to the NS-10’s and you turn them up and suddenly every kick drum is moving the speaker in a controlled way and it hits you, but it doesn’t fight
everything else that’s going on. And interestingly enough, to me, the bass is pretty low in a lot of his
mixes, but you still hear every single note. Two of my favorite albums that he’s done are Lisa Loeb’s
“Firecracker” and Duncan Shiek’s “Humming”.
And Massenburg, going back to earth Wind and Fire, all that stuff sounds incredible. But what I really
liked was when he got into the producer role, like Lyle Lovett’s “Joshua Judges Ruth”. To me that’s
something to really shoot for sonically.
Name a few OLD recordings that still kill you?
Strawberry Fields Forever. Cornelius Brother’s and Sweet Sister Rose. Early Paul Simon, like the first
solo Paul Simon album- that album is amazing to me. There’s a song on there called Armistice Day
that just rocks!
How did you arrive at Kung Fu? Was it a happy accident?
Jeff and I were going to build a studio and realized it was going to be too hard to do. We located it at my
house which is a stressful place to have your business. I knew that Tim was putting this place together and
he contacted me so, happy accident- yes, but I’ve known Tim for years so “planned” happy accident.
Can you name 2 pieces of gear you’ve got your eye on?
Personal Fitness Trainer
jeannine@fitnessbyjeannine.com
“My absolute favorite voice
in town is McKinley...I was
probably too careful on
that album. ”
photo by Buko
Sure. I would love to obtain a real Pultec EQP1-A. I picked up the Manley Massive Passive which
is a fabulous EQ, but it’s not quite it. There’s just a sound they have when you turn up 3k on a kick
drum…”oh THAT’s the sound”. And I’d like to get maybe the four channel API pre or another four
channel GML. I love that preamp.
That’s more of a clean class A circuitry type?
Yeah. I’m not one of these guys that thinks everything has to be tubes. I think people would be amazed
at how much stuff that’s perceived as vintage, doesn’t have tubes.
Can you recommend some websites for info & reviews?
TapeOp online. Gearslutz.com. The Womb.
Any favorite publications you enjoy besides Buko?
Buko’s the only one. (laughter) No- I’ll pick up TapeOp and Mix. I get Electronic Musician and I get
EQ, but I zip thru those.
What’s your headphone mix system?
A custom deal. Tim and I wanted musicians to be able to create their own mix as opposed to creating
it at the console. We have 8 channels we can send out discretely to musicians.
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What’s your oldest piece of gear?
Do instruments count? I have a kalimba I got when I was a kid, when I was into Earth
Wind and Fire.
Is there a mic that you reach for quite often?
I’ll have to say not really. Everything is dependent on what the source is. If there were
one mic that would work on pretty much anything it’d be a U67. A lot of people are
gun shy about the TLM103, personally I like them a lot. They have a nice openness
and they are a very quiet microphone.
Did you apprentice anywhere?
Sound Impressions as they opened their doors. In the very early eighties, and it didn’t
become a known entity until about ’86 or so. Started out as 4 track reel to reel.
What made you want to be an engineer?
I was playing in a fusion band. We had a couple albums recorded, and I didn’t like
how they were produced. It made me want to get on the other side of the glass. So
if I ever worked myself into the position of producing, I’d approach it with the ethic
that “I wanna get the sound the band or artist wants” as opposed to “ I wanna put my
thumbprint on how things sound”.
What’s your basic drum mic’ing set up?
I have 3 set ups. Number 1: to individually mic everything and have some overheads
and room mics. Number 2: the 3 mic Glyn Johns set up. Number 3: I’ll take 2 B&K
4011 mics, left and right, equi-distance from the snare about 3ft off the ground. And
then put an overhead mic ( U67 or U47) not close but in the room, so you get a nice
stereo picture without close-miking.
That’s your ambient and everything, you’re not squashing the overhead?
they don’t fail (knocks on wood).
IS there a preferred EQ that you use a lot?
On the computer I like the Sonnex EQ, which is a derivative of the Sony Oxford.
Outboard- I love the Manley Massive Passive. It’s a chunk of change and it’s been
worth every penny of it.
Are there times when you compress going in?
Lots of times. If I’m doing a vocal that I know, in the end I’m going to compress, I’ll do
it going in. Because I know I can get more character out of a distressor going down that
I can out of any of the computer stuff. A lot of times, I’ll commit to a sound, because if
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I’m committed to a sound I’m not going to have to work on it later on- just the levels.
I really hate having options when it comes time to mix.
A lot of those choices should have been made earlier and you’re trying to make
them…
Yeah.
And character helps the mix right? And you’re not shy about getting that going in?
Right. And I’ll commit to delays, I’ll commit to reverbs…
When you say “commit” you’re printing them right with the original source track?
I’m saying “ here’s the guitar with it’s (amp) reverb, to a track.
Well, that takes some experience.
A lot of times you can a character out of a spring reverb on an amp, that people hear on
a gig etc. I have no problem committing to that. Why would I want to try to recreate
a spring reverb sound from a dry guitar later on?
Is that something you tell the client ahead of time?
Oh yeah, absolutely. They are usually aware that we’re committing to sounds. It comes
from working for years in tape where you don’t have 90 tracks, and that ethic has paid
off working in digital, because decisions get made and then when we’re mixing- we’re
mixing.
How are you currently approaching compression on drums? Is it a safety thing or an
early commit-to-a-sound thing?
In reality I don’t do a lot of compression on drums. Or, as much as I used to. Now
I find myself really trying to keep dynamic range intact. I’ll do some compression
when I mix.
Do you do much ambient mic’ing?
With drums, yes. With guitars, yes. With bass, usually not. Vocal, sometimes a room
mic.
Are you squashing the crap out of it with a distressor?
Paul Creighton of Intervision doing
his vocal tracks at Kung Fu Bakery.
photo by Buko
No. You have to use it with drummers who know how to balance their kit.
What do you use for comparative listening? Certain CD’s?
I’m doing this all the time. A lot of times I’m looking how this song hits me.
There a Jack Joseph Puig mix of Athenaeum that I really like. Catie Curtis. A lot of the
older Joe Jackson stuff. Lisa Loeb’s “The way it really is”, I use that a lot. John Mayer’s
first album “Room for squares”. I could go on and on. It’s not really matching the
genre- it’s more of hitting me on an emotional level.
What’s your current back-up system?
Multiple hard drives. Western Digital has good drives. LaCie is fine. I’m a LaCie “D2”
guy. I’m a Otherworld Computing “Mercury Elte” guy. I know they work and I know
I’m really liking the new Neve 5043 (portico). Not only ambient but I’m liking that
a lot on bass, both amp and D.I.
What’s your computer, operating system and recording software?
Mac platform, OSX. Protools, Logic Pro, Digital Performer and all the peripheral
stuff that goes with it like Reason, Ableton Live. And Garageband. Ya gotta use
Garageband!
Any favorite plug-ins?
I really don’t have one. I find them all to be tools.
What’s your best sounding mic pre?
I wouldn’t have bought them if I didn’t think they were great sounding. I almost said
as a gut reaction- GML.
Bob puts the finishing touches on
Myrrh Larsen’s latest project.
photo by Buko
Ok Bob, you can leave with one pre and one mic…
Yeah the GML and I’d probably grab the TLM103. Unlike the U67, the 103 is fairly
bullet-proof. I could pretty much use it on anything, you know- it’s care of placement.
Any approaches you take to mixing?
I’m a “start with the vocal” guy. Find the song. A lot of times it’s vocal/piano or vocal/
guitar. Make those sound like they could be printed and be the song, and build
around that.
What signs tell you that you’ve been mixing too long?
I’m pretty disciplined about trying to stay in the studio no longer than ten hours.
How do you like to take your breaks?
I’ll work for a couple of hours, get some coffee, work a couple more hours and get out
of the studio for lunch. Never eat lunch in the studio. I think it’s really critical to walk
away from the studio. That whole thing of leaving and coming back- you get a fresh
perspective every time you come back, and things happen very quickly when you first
sit down. A lot of new things get accomplished at that moment.
Any mixes you’d like to have back?
All of them. (laughter)
Do you recall a favorite project?
Can I mention two? The last Intervision Project “Shades of Neptune”. they kinda gave
me free rein on that. And I was working more as producer and less as an engineer. So
we hired Dean Baskerville to engineer the tracking sessions, and I mixed the album.
It was great to be listening and evaluating in a producer’s role, and I think it paid off in
the end. The album is a really interesting album to listen to.
The other album I enjoyed working on was more because of the songwriting. My
absolute favorite voice in town is McKinley. She gave me a little bit of free rein and as I
describe it now- I was probably too careful on that album. (Goner) She has an incredible voice, her pitch is always on. She’s a joy to work with, and both of these albums I was
instantly able to listen to them as music. And that hardly ever happens with anything
I work on. On the jazz side, any album I worked on with Dan Balmer.
Can you recommend any books to would-be-engineers?
Yes. Behind the Glass by Howard Massey and the Recording Engineers Handbook.
It’s like an encyclopedia, a very large book.
Can you mention a piece of low-cost gear that surprised you?
Yeah the Audix I-5’s. There really is a replacement for the 57.
What kind of hospitality do you offer here?
I’m a nice guy. (laughter) We have a bathroom.
Any advice for young engineers in bedroom studios?
Take a music theory class. It’s one of the advantages I have over other engineers. It’s
really important as an engineer and as a producer- to be able to communicate with
the musicians and to be able to help them through problems that come up with their
writing, arranging and whatever. All they need to know is that I can help them. having
that tool puts me three steps ahead of other engineers. Also, have people skills. It’s not
the gear- it’s the guy running it.
Anything else?
Be patient and learn. We all had to empty the trash at some point…
oh- we still do!
by Ty Hitzemann
G
rowing up, while most of my friends forged out their favorite
sports figures as heroes, I felt a lot like the odd kid who
just didn’t fit in. Early on, my idea of heroes were
always musicians- Namely guitar players. When I’d watch
people like Johnny Cash, Roy Clark, and Glen Campbell
play on T.V. and hear the crowds cheer for them, butterflies
would brew inside of me almost to the point of tears. I
was in awe of them. To me their accomplishment on that
instrument was not unlike the awe and respect that most
of my friends were attaching to “Hammerin’ Hank” Aaronor Wilt Chamberlain. Their dexterity and concentration
were fascinating to me, and I remember the funny faces I’d get
from other kids when attempting a comparison. I’d say,
“Don’t you think Hank Marvin’s skillful agility on
the guitar is like an athletic feat?” Then they’d
mutter “whatever” and run out to throw their
baseballs or footballs, I’d stay in my lonely
little teenage room sweating air guitar moves
along with Buck Owens or Link Wray.
A few years later, I found a well-worn
copy of Roy Buchanan’s “Loading Zone” at
the library. Up until then I had never heard anything quite like Roy’s piercing angst-drenched
electric guitar with such a unique delivery. I
was amazed by this middle-aged man who
looked like my math teacher was able
to sear the paint off my walls with his
Telecaster. It wasn’t until many years
later I was fortunate enough to hear
one other person who’s playing
was so far from the pack, and carried such a unique diversity and
WOW aspect to me.
Fast forward to 1996.
While attending the Rose
Festival, I just happened upon
a Curtis Salgado/Terry Robb
live acoustic performance in support of their critically acclaimed
release called “Hit It ‘n Quit It”. Up until
that time Terry had been somewhat of an elusive
performer to me. I certainly knew his name, had
heard about his local and international success,
and rumors of his legendary performances. Somehow I always seemed to have just missed him at
some venue where he either played recently, or
the night before. I remember a couple of television performances like the Conan O’Brien
Show that TR had played with Salgado and
Steve Miller that I had unfortunately missed,
even though I watched most every night
(snap!).
Attending the Festival show caused my
electric guitar seeking adrenalin to seethe
and surge. Never before had I seen an acous-
tic guitar showcase able to draw the calcium out of my bones that performance
did. Backing up Salgado, one of the greatest soul-blues singers in the
world, Terry was equally mustering up his own circuitous Voodoo
cluster of magic- mojo. Solid rhythm, staccato chops, impossible
note flurries, all with an impeccable timing, Robb’s performance
was arresting. I was hooked. “No” I told my friends, “You don’t
understand, THIS IS THE GUY. Forget what you’ve heard
before.” Just listening to the last track on their CD, “Feeling good”
would tell the story so completely the reader would need not to
finish this article. That performance was merely acoustic, but It
solidified my perception of what true passion in performance was
all about. It was also there in the audience someone shouted, “See
you at the Candlelight Terry”!
Throughout the mid to late 90’s, it was at the Candlelight
Room where many feel a lot of TR’s legendary performances were forged. With the likes of Alan
Hager, Cartlon Jackson, and Albert Reda
backing him, Terry would use the weekly
slot to experiment in front of willing
downtown after-work crowds
who were open to his experimental moods which included
a mix of traditional songs,
progressive rock, acoustic
ragtime or fusion-- but always
delivered with a solid blues
foundation. It was here that
packed audiences would shake
off the day to TR’s interpretations of Muddy Waters, Son
House andJohn Lee Hooker,
to more complex covers of Jeff
Beck, John Mclaughlin, and
Eric Clapton-- Along with electric
slide work that would make Elmore
James shudder. I have yet to hear any
guitar player besides Steve Vai attempt,
let alone come close to Zappa’s mindblowing anthems like “Black Napkins”,
or “Zoot Allures”. Many had been going
for quite a while and could only humor
my in-between wailings of ‘Look! Whoa!
did you see that?’. All those huge concerts
-Terry Currier
where I was squinting to catch an expensive binoculared view of my favorite rock
guitar-gods were to be put on notice. Here
was a LOCAL guy, matching or besting
most of them, and he was right up the
road. Needless to say, it was very difficult
to sleep any night I saw him.
By that time Terry had already
released an electric based solo effort
called “Jelly Behind the Sun”with
former Frank Zappa frontman Ike
Willis, who previously hired Robb
“The absolute word around
town was that you HAVE to
see this guy. It was like the 2nd
coming of Hendrix. His playing
was so powerful. He was fast
and very flamboyant. But the
great part was that you could
succinctly hear every single
controlled note.”
photo by Ty Hitzemann
Buko
Buk magazine Vol.2 No.2 - 13
as a lead electric guitar player in his own solo band. Terry being Ike’s first pick
attested solidly that his skill was appreciated above many others who could have
been chosen. Ike spent many years of studio and touring time behind one of the
greatest electric guitar players and musical geniuses of the 20th century. Yeah...
he picked Terry Robb. Their duo performance of Terry’s beautifully penned”Say
Yeah” is the stuff hits are made of, exhibiting his crafty song writing and melodic
ability . Robb’s pristine leads were emotionally arresting.
Recently, I sat down at Terry’s kitchen table surrounded by numerous framed
photos of him playing with the likes of Canned Heat, Los Lobos, Ramblin’ Rex
and Francis Clay.” The reason I decided to play the blues was because its the least
neurotic music. Even when its exaggerated there’s still a purity to it”. Terry states
his references to those who carried special influence to him very simply and matter
of fact, “Hendrix was a big influence to my direction of blues, jazz and funk. As
a kid I really liked him. Once I got older and revisited Jimi, his Band of Gypsys
had a real impact upon my playing. Muddy Waters had a lasting effect upon me
because he could make an incredibly strong statement with a single note. To my
surprise, after a long pause he said, “But really, Henry Vestine was my guy because
he could play passionate blues with a real abandonment.” Others have said the
John Fahey influence has become the strongest glue completing the fabric of
Terry’s prodigious delivery. TR’s adoration and extensive collaboration with the
eclectic-acoustic master put 12 years of imprint upon his chord-voicing, unusual
finger stylings and over-all composition. It was priceless direction from one of the
very best. “Fahey gave me the affirmation to try, or include anything-- which was
a revelation to me as far as my finger picking style and delivery.”
These days, Robb’s live sets have been running the gamut of these stylized
criss-crossings. From Muddy to John Mclaughlin to Eric Clapton to Zappa.
Terry’s adaptability to playing styles are more than numerous. “People like Albert
Collins, Hubert Sumlin, BB King and John Lee Hooker were real important to
my electric approach, and I have been fortunate to have learned from playing with
Buddy Guy, Johnny Shines and Junior Wells”. From all these influences it has
forged one of the blues most invigorating players with an outstanding capacity for
the original. The guidance from these essential players coupled with Robb’s famous
acoustic abilities honed tirelessly since childhood only add to the narrative. His
attack is quite similar to Zappa’s complex note flurries, but with Buchanan -like
bends and “pinch” harmonics. Single note cries can be guttural, and syncopated
with emotional wails of flaming vibrato which he often subterfuges with volumeswells and staccato mutings. His sustaining patterns have the Jeff Beck “dodge
and burn” pattern with just the right whine and timbre to twist your brain into
the cosmologic abyss. Billy Gibbons once exclaimed, “I sure like the way Terry
Robb plays that electric slide”. ‘Nuff said.
“I first saw Terry play with Ramblin’ Rex. Terry was playing these incredible
leads with such a force”, bluesman and master harpist Bill Rhoads remembers.
“Terry really had a knack for stretching out, and he wasn’t afraid to tip the boundary. He really is like no other, but electrically, his explosive style is akin to Buddy
Guy”. Indeed, TR is his own man, uniquely interpreting and forging orthodox
styles into something new entirely. At times there are elements of jazz to his playing because of striking dissonances in his electric soloing. Within those realms
he easily touches down on note arrangements that might call to mind Ornette
Coleman or Sonny Rollins. Whether its blues, ragtime or progressive rock,
toeing in territory that might be hectic to some electric players is an easy shoe
for TR to put on.
Music Millennium Owner and Impresario, Terry Currier remembers his
first encounter hearing Robb play electric from a performance in the 80’s. Having
worked very closely with Robb over the years, Currier just shakes his head and
looks up at the ceiling with continued amazement recalling what he witnessed.
“The absolute word around town was that you HAVE to see this guy. It was like
the 2nd coming of Hendrix.” Currier continued. “ His playing was so powerful.
He was fast and very flamboyant. But the great part was that you could succinctly
hear every single controlled note.”
Not surprisingly, most of what is available from Terry Robb has been acoustic
efforts. This is Robb’s admitted forte. “I cut my teeth on a lot of these Delta blues
guys, and always incorporated that into my electric playing and visa-versa. The
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Terry Robb and Robbie Laws at the
‘04 Waterfront Blues Festival.
photo by Ty Hitzemann
only difference with electric is that I get to play with amp feedback”. As well as a
seasoned top Producer, blues Historian and sought after session musician. He is
also a veritable go-to-guy in the industry. He and Adam Scramstad are beginning
work on both a CD and DVD project with players from his electric band of which
Adam plays guitar, Dave Kahl on bass, and Jeff Minnick on drums. The DVD
is expected to be played live in the studio with an audience. Together, Terry and
Adam have launched Psychedelta Records and are finalizing Linda Hornbuckle
and Janis Scroggins new release called “Sistas”. They have signed John Callahan
among others and are excited about the projects to come.
There are many who’ve been waiting a long time to experience the electric
TR-- Well, the wait is over. In the last couple of months, the Terry Robb Electric
Band has been showcasing in a few select places, priming for some larger dates that
are planned. Some of us recently followed him to a show in Zig Zag at Skyways
Bar and Grill where an audience of both commuters, and locals had their jaws
dropped. The band kicked out fresh material, traditional blues, and some new
self-styled blues- powered numbers. Terry’s extended solos were exemplified with
his usual one-of-a-kind delivery in mesmerizing detail and prowess. The Band has
been knocking audiences out show after show.
You can catch the Terry Robb Electric Band on July 4th at the Waterfront
Blues Festival. August 9th at the White Eagle, and September 12th at Mt. Tabor
Theater-- All in Portland, OR. You can also see his incredible acoustic talents
every Thursday at Halibuts on N.E. Alberta.
Hey! There’s nothing like the real thing baby, but you can check out many
examples of his playing on Youtube, just to get your tongue wet! Enjoy.
Who is John Dwyer? With the number of bands he’s
been involved with, he could be the next Billy Childish.
Think Coach Whips, Pink and Brown, The Hospitals, and a
bunch of other bands I have not heard (of).
The Oh Sees features dueling vocals between Dwyer
and Brigid Dawson, with Petey Dammit and Mike Shoun
completing the lineup. Dwyer and Dawson harmonize
through heavy distortion in a beautiful rhythmic harmony
with the garage warbly guitars (no bass!) and energetic drum
beats. Their songs sound like they were recorded into a can.
They give the listener a breather from their pogo dancing trash fun with slower
numbers like “Grease 1,” which I would love to slow dance to with my punk rock
boyfriend from college. It is also more reminiscent of their earlier experimental
folk/psych recordings such as on Sucks Blood, which is still available.
The Master’s Bedroom is a great listen when I need to be reminded that
good, fun, rock and roll is still being recorded. Real music lives on and it is a
welcome relief.
Sudden Infant – Psychotic Einzelkind
Blossoming Noise Records
erlin based Swiss-born experimental musician Joke Lanz, known as
Sudden Infant, brings us his latest works in the album, Psychotic Einzelkind. Compare his aggressive and intense rhythms with early Einstürzende
Neubauten or even angst from other acts like Cop Shoot Cop and you are right
on the money. Heavy, percussive, and carefully crafted, Sudden Infant will have
you tapping your feet to the beat while getting your teeth punched out at the
same time.
There are über distorted vocals throughout, which I liken to a nine year
old boy playing by shoving contact mics in his mouth and running about like a
crazed monkey. Part of the unique quality of this recording is how these sounds
are interpreted by different people. What I consider child-like sounds, others can
interpret as angry and disturbed. No two people in the same room will get the
same message from this album.
As an added bonus, Lanz has three songs remixed by experimental music
luminaries Z’EV, Lasse Marhaug, and Thurston Moore. Bonus!
B
Thee Oh Sees – The Master’s Bedroom Is Worth Spending A Night In
Castle Face/Tomlab Records
ust like their myspace blog says, they do not sound like the B-52s. No, far
from it. They are more like teenage garage punk rock with a more modern
flair. The Oh Sees, also known as OCS (which could stand for Orinoka Crash
Suite, Orange County Sound, whatever…) are another John Dwyer project and
this is the seventh album from this band.
J
The Daysleepers – Drowned In a Sea of Sound Claire Records
ust when I thought shoegazer music was not on people’s minds anymore,
I stumbled upon The Daysleepers. Drowned In a Sea of Sound is a solid
and satisfying full length debut from beginning to end. If you remember the
heyday of dreamlike smooshy indie pop, The Daysleepers will make you think
this is a lost record from that time.
Think back to Slowdive, My Bloody Valentine, The Stone Roses, and that
entire movement of swirly echoes and soft vocals that all these bands had in
common. The Daysleepers’ Jeff Kandefer successfully recreates the same dreamlike vocals that melt with the band’s guitars and synths.
Unfortunately, I would not say that they pick up where these other well
known artists of the genre pick up. Had this record come out in the late 90s, it
probably would have gotten lost in the limelight. There is no new edge to their
sound, nor are there signs of reinventing the genre. Instead, it’s a successful recreation of music I had forgotten about.
I enjoy listening to Drowned, and am glad to be reunited with a genre I put
on the backburner. Thanks to this record I have dusted off some of my old Cocteau
Twins and Mojave 3 albums among others.
J
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Text and Photo by Jeanne Galarneau
C
rosby, Stills and Nash played to a sold out crowd of nearly 3000
despite the threat of showers in Woodinville, Washington’s Chateau
St. Michelle Winery Amphitheater, Friday June 6th, the fifth stop
of their 39 date summer concert tour. David Crosby, Stephen Stills and Graham
Nash, known as, CSN, supergroup and counter culture icons of 70’s, delivered a
two set 90 minute show spanning their four decade career. Fans were treated to
Woodstock era classics as well as hit songs from each of their respective solo
careers. Formed in 1968, when Nash was invited into the studio to hear Crosby and
Stills then collaborating after the breakup of their respective bands, the Byrds and Buffalo Springfield, Nash, then member of a British pop group the Hollies,
spontaneously joined in singing a top harmony to a new Stills penned song “You
Don’t Have to Cry.” The sound was magic. Critically acclaimed from their first
release, CSN won the Grammy for “Best New Artist” in 1969, and were inducted
into the Rock and Roll Hall of Fame in 1997. Each of them stars in his own right,
accomplished lead vocalists and songwriters, crafted a unique sound of guitar and
piano, with intricate interlaced harmonies and counter melodies, the hallmark of
their sound, unmatched by any other group in the industry. Socially conscious,
their lyrics often politically charged, chronicling global social issues such as civil
rights, nuclear power, and anti-war, became anthems of the boomer generation. They are three together, still in love with the music and each other. The
evening’s performance was punctuated with dry wit and humor reserved for the
closest of friends. Nash poking fun at his partners after receiving a bouquet of
flowers from a fan, pacing the stage and waving them about. Crosby noodling on
guitar, abruptly interrupted by Nash chiming in with, “Bus stop, bus stop, please
share my umbrella...” Crosby quipping back with, “We know your group had the
most hits!” Looking better than he has in years, Stills remarked, ”I am no longer
wearing my old fat suit.” Both he and Crosby achieved substantial weight loss.
Crosby stated,” I lost 50 pounds.” Stepping up to the mic, Crosby commented: “Don’t you think it should
be illegal for a person to control nuclear weapons when he can’t pronounce the
word nuclear?
Truly a spokesman for peace in an insane world of needless war, government
mistrust and excess.
CSN delivered a solid 22 song performance, a mix of electric and wooden
guitars, polished vocals to an exuberant crowd. Stephen Stills, master of tasty
guitar solos, sang with his sweet yet scratch vocal, which made one think he may
have been singing with a sore throat leaving Nash and Crosby carry the vocals
on Wooden Ships. The crowd joined in on rousing sing-a-long of Teach your
Children the encore. Definitely worth the price of admission.
Set List
Wasted on the Way
Long Time Gone
49 Reasons
Immigration Man
Military Madness
Isn’t it about Time
Cathedral
Déjá Vu
Southern Cross
Intermission
Helplessly Hoping
You Don’t Have to Cry
Carry Me
Guinnevere
Our House
Lay Me Dkown
Delta
Wounded World
Marrakech Express
For What It’s Worth
Wooden Ships
Encore
Teach Your Children
by SP Clarke
“Cherry Poppin’ Daddies daddy, Steve Perry,
is an Oregon icon and should surely be in the
Oregon Music Hall of Fame. His unrelenting
musical vision, which has always fused
elements of Funk, Ska, ‘30s Jazz, Swing and
basic raunchy Rock, has now spanned almost
twenty years. ”
Susquehanna - Cherry Poppin’ Daddies
Space Age Bachelor Pad Records
herry Poppin’ Daddies daddy, Steve Perry, is an Oregon icon and should
surely be in the Oregon Music Hall of Fame. His unrelenting musical
vision, which has always fused elements of Funk, Ska, ‘30s Jazz, Swing and basic
raunchy Rock, has now spanned almost twenty years. Since the band’s inception
as a controversial frat-rock band, the Daddies have never been far from the local
forefront, while continuously playing music that sounds strangely recycled- as if
five radios from long ago eras were all blaring (harmoniously) together at once.
As with the Daddies’ contemporaries in the early ‘90s, the Crazy 8’s, the
Daddies sported a horn section, when horns (during the era of Grunge) were not
typically being employed by rock bands. The reason this melange worked at all
was attributable to the genius of Steve Perry. That is not a euphemism, the guy is
a real genius (he has a degree in molecular biology, fer chrissakes). Steve was the
glue that held the band’s productions together- even when the execution did not
fully meet the musical vision.
The Daddies have been a popular local band for over fifteen years. I remember seeing them at Larry Hurrwitz’s Day For Night in 1991 or 1992, Steve with
a brightly colored mane falling halfway down his back, his head half-shaved;
C
maneuvering a giant plastic penis around the stage and into the crowd. This might
have been during their brief period as the “Bad Daddies” after their hometown
of Eugene erupted in civil uproar over the name “Cherry Poppin’”. Those days
were oh so quaint.
I remember seeing the band again, maybe a year later, playing to a packed
house at Belmont’s Inn. They were far tighter by then, with the horn section better
integrated into the mix and with Steve sporting close-cropped hair and a more
suave stage presence. Within five years, the band had a national hit with “Zoot
Suit Riot,” one of four new songs presented with several of the band’s previous
Swing masterpieces in the album of the same name.
And for quite some time the Daddies were unfairly lumped into the “Cocktail
Nation” pile that was momentarily popular in the late ‘90s. This almost became
the death of the Cherry Poppin’ Daddies. Their attempts to escape that Zoot suit
motif were met with a collective yawn. It has taken the band almost ten years
to free themselves from that albatross and return to being the band they once
were- not locked into any particular style, but fully capable of deftly maneuvering
through any of them.
“Susquehana” is an ambitious project, which Perry likens to a musical version
of James Joyces’ “Ullyses,” wherein (as Joyce did, literarily) he employs different
styles and arrangements to flesh out each musical chapter among the thirteen songs
proffered. Longtime Daddies fans will hear all the various musical styles to which
they have become accustomed to hearing performed by the band. But here, the
tasteful application of various World music shades, color many of the compositions as well. It is the same old Cherry Poppin’ Daddies- yet somehow different.
For one thing, the band has sonically never sounded better. The horn section
fairly shimmers. Perry still maintains his Sammy Davis Jr. approach to vocals, but
a certain mature suavete that is all his own has crept into his delivery. The Thin
White Duke meets the tuxedo-clad coolness of Bryan Ferry.
Jason Moss’ spaghetti western guitar is backed by Mexicali salsa brass
(provided by Dana Heitman, who has been with the band since its inception) for
“Bust Out.” Steve employs a creaky lower-range vocal for the verses and choruses,
sounding more like himself in the bridge. Moss’ sterling nylon string guitar solo
adds a smooth Jalapeno touch to the proceedings. Moss also stands out with
expert whammy bar coloration on the nocturne that is “The Mongoose And The
Snake.” The Ska-flavored “Hi And Lo” calls to mind a Mighty Mighty Bosstones
sort of arrangement.
“Blood Orange Sun” is an uptempo Reggae number, with a number of autobiographical references to Perry’s childhood. The title of “White Trash Toodle-oo”
references Duke Ellington, while the song itself is a hopped version of other songs
the Daddies have produced over the years. Meanwhile, the rocky “Julie Grave” is a
bit different for the Daddies, with none of the aforementioned musical references
to be found, closer to something Ziggy Bowie might have done back in the early
‘70s. A catchy handclapping rhythm accentuates the tale of childhood lust.
With castenets a-clicking, hands a-clapping and flamenco feet a-tapping,
“Roseanne” is a taste of Espagnole; a righteous send up. Moss’ highly stylized
guitar, obviously influenced by African pop music, is the highlight of “Tom The
Lion,” another departure for the Daddies; a direction heretofore unraveled for
the band. Infectious. Moss returns with jazzy comping on “Wingtips,” a song
Sammy Davis Jr. would have enjoyed singing. A sassy bossa nova, replete with
flutes, “Breathe” is a quick trip to Brazil, with a lovely chorus.
An acoustic guitar makes an appearance, along with French horn accompaniment and a sonorous cello, to dress up “The Good Things,” a song few would
guess to be performed by the Daddies. Delightful. “Arra’ncate” utilizes many of the
earlier Latin themes in a send-up that would do Pink Martini proud (unless the
translation of the Spanish lyrics would fail to meet Pink’s highly PC standards).
A true tour de force, the Daddies have produced an album that takes the
listener around the world. While some of the material sounds like classic Cherry
Poppin’, about half of the songs are a real stretch for the band- yet fully within the
breadth of their talents and ambitions. And, while every member of the Oregon
Music Hall of Fame is fully deserving of their induction- the list of honorees will
not be complete until Steve Perry and the Cherry Poppin’ Daddies are included in
the ranks. They are some of the best musicians the state has ever seen. And certainly
twenty years is enough indentured musical servitude to warrant inclusion.
The End - Podington Bear
Hush Records
o, this musician is not to be confused with Paddington Bear, that saccharine little children’s book character with the dumb hat and raincoat.
In fact, this bear is not to be confused with anyone. Mr./Ms.Bear is a mysteriously
shadowy individual. Look up the name online, and see what you get. Podington’s
website gives very little information about the person or the music. But this individual is dedicated to the Pod aspect in the name. Believe that.
Podington is an extremely creative instrumentalist, fashioning lush sonic
soundscapes at an incredible rate of output. Check out the simultaneous Hush
Release- “The Box Set,” for verification of that assertion. That 10 CD set contains
135 pieces (including this album), over 8 hours of original music, most of which
was composed and created over the past year. Last year, the Bear attempted to
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release (via the website and Podcast), a new piece of music every couple
of days and nearly accomplished the task. Lael Alderman, eat your heart
out!
Podington would have you steal the music, or at least borrow it, rather
than to conform to the age-old practice of selling it to you via the usual channels of treachery and corporate hypocrisy. This album- and the rest of the
compendium are a nod to the fact that not everyone has the wherewithal
to obtain this stuff via the electronic media. Some people just like to hold
“product” in their cold clammy hands, don’t you know.
This particular seven piece construction conforms (loosely) to the
work of Elisabeth Kübler-Ross, whose groundbreaking work in the field of
death and dying, and whose Five Stages of Grief, was pretty much the last
word on the subject (so to speak) throughout the last several decades of
her own life (which ended in 2004).
To Kübler-Ross’ “Five Stages of Grief”- Denial, Anger, Bargaining,
Depression and Acceptance, Mr./Ms. Bear offers slight modifications.
The seven pieces presented here are entitled “Change,” “Denial,” “Bargaining,” “Fury,” “Ebullience,” “Grief” and “Acceptance.” As to whether Mr./
Ms. Bear has experienced a death in his/hers immediate family cannot be
ascertained.
However, those of you put off by the subject of death and dying have
nothing to fear with this cinematic display of sonic splendor. The music
here is transcendent and uplifting, without being morosely grim nor glumly
self-pitying. Only the elegiac track “Grief,” Satie-like in its construction,
connotes anything even remotely sad.
And what glorious music it is! Comparative allusions have been made
to Aphex Twin and Brian Eno- and though atmospheric in its own right,
this music is far more melodic and emotionally immediate than that with
which this music is compared.
Words are hardly worthy to describe this music. Highly orchestral.
Warm. Emotive. Passionate. Thoughtful. Extremely well executed. Original. Deep. Unique. Far less precious than Mr./Ms. Podington’s moniker
would imply.
It is music that must be experienced to be appreciated and it really
should be appreciated, if but for the incredible depth and scope of the output.
Try it. You may or may not like it, but you will come away with a profound
respect for the musician that is Podington Bear.
The Builders And the Butchers - The Builders And The Butchers
Bladen County Records
The Builders and the Butchers have been hailed in some quarters as taking
up the local banner for the Decemberists- since the latter moved on to major label
stardom and whom are now seldom seen in our local scene. While the newcomers
share certain attributes, including a decidedly antebellum atmosphere, they lack
the literary precocity of the Meloy clan. To these ears the band more resembles
the Bluegrass intimations of Kevin Ritchie and his work as Bingo; with a touch of
the funereal folk of Ritchie Young and Loch Lomond- though, strangely, vocalist
Ryan Soller’s whining voice also closely recalls that of David Surkamp of the ‘70s
Seattle band, Pavlov’s Dog. Let that percolate in your brain for a while.
The music is loose around the edges- sort of sing-along songs for the modern
Gangs of New York. “The Night Pt. 1” is an uptempo dirge, whereas “Pt.2” is a real
dirge, with Soller caterwauling into the blackness. “Red Hands” combines Harvey
Tumbleson’s bubbly mandolin with guests Annalisa Tornfelt’s moaning fiddle
and Adrienne Hatkins jangly banjo- to good effect. A sense of drama pervades.
“Spanish Death Song,” is livened up by drummer Paul Seely’s mournfully dramatic
trumpet work. Flores por los meurtos. “Black Dresses” holds to the dingy motif,
slap happy in the face of begrimed gloom. The bride wore black.
“Bottom of the Lake” breaks with the stylistic mood of the previous
arrangements- with symphonic strings sawing away behind Soller’s raucous
banshee banter. “The Gallows” brings to mind the slightly intoxicated barroom
flair of Philadelphia’s Dr. Dog, with a heavy dose of the Pogues thrown in, for
morbid folk authenticity. Tumbleson’s mandolin swims across “Bringing Home
The Rain,” a sort of bluegrass jig, with Soller’s customary dreary lyrical outlook
lending jaundiced perspective to the jauntily morose proceedings. Like a wake
for a dead circus.
“The Coal Mine Fall” picks up where the previous song left off. Like turning
a corner onto a new street, festooned with black bunting. The shadowy gospel
call-and-response background vocals of “Slowed Down Trip to Hell is no less jolly
than its predecessors: meaning not at all. A dim world view, to say the least. “Ten
Miles Wide” maintains the chunky acoustic guitar setting for another happily
bleak lament about death and misery. The final song of the set, “Find Me in the
Air,” vaguely sounds like “After The Goldrush” period Neil Young, and is by far
the cheeriest number of the bunch- which isn’t saying much.
The Builders and the Butchers sing drinking songs for the chronically
depressed and irrepressibly downtrodden, with a sublime rousing melancholy
hanging over the good times like the breath of the Devil himself. Ryan Soller’s
unique approach to a song is, like the Decemberists, a throwback to earlier days;
although, just when those days might have actually transpired is somewhat hard to
say. All the same, his musical vision is consistent with itself, if a tad anachronistic.
Still, it is a sure thing that this band could liven up any Friday night of inebriation
with the frivolous songs of the dying and the dead.
skeleton key tattoo
july 4, 2008 - 7pm
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Ian McEwan
1729 SE Hawthorne Blvd.
503-233-4292
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503-227-1771
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Just off Division
“One Mind Gone Separate Ways” is the final track, a collective
body of narrative movements that will blow you away. The melding
of instruments captures the minds eye. The oneness presented here
is sheer magic...an awesome magnitude of completeness.
This album should be funded with a petite orchestra to be fully
realized in an entirely live setting. The only downside is that his vocal
mix is sometimes weak and unintelligible.
Bassist Dell Blackwell bears a heavy load that he carries with consummate precision. He has a controlled attack that is at once graceful
and cacophonous.
Percussionist Buck Rothy sets his miking close which adds a
snappy flavor to the mix. This is even more evident live where he is a
powerhouse of energy and sweaty intent.
Sparkles’ guitar leads stand alone, and can sting with a complexity
on par with the likes of Jimmy Page.
Together, they have cut something influential that keeps on growing with each listen.
Expect more good stuff from this band.
by Ty Hitzmann
DANAVA: UononoU
Kemado
his new release sets course in
some new directions while
continuing to maintain the rebound
of 70’s progressive rock in the last few
years. I for one had been missing it since
Rush became the only band worthy of
attempting to carry on the tradition. Fast
forward 30 years to groups like the Goddamn Gentlemen and F***ing Champs,
who finally, have made some great returns
of the genre.
Danava lights this torch and runs
wildly with it, and has created in the process,
some very original ferociously intense and foundational sounds in the rock arena. However, to call it
simply rock &roll would be as incomplete as naming
Led Zepellin simply a ‘blues band’, even though
they in many ways were just that. We don’t blame
Dusty Sparkles not being keen on labels. to make
references is human nature, we can only compare to
others who’ve gone before to some degree.
Danava doesn’t consider themselves a metal
band. I agree. They also don’t consider themselves
Prog. I respectfully disagree.
However classified, we’re talking intensely original material here. There are slight references to Thin
Lizzy mixed with Rush and Sabbath elements .That
said-these guys are cut from their own circuitous cloth,
which is norm these days any way you slice it.
No rock audience could possibly be disappointed
even if this was all any band could muster up as a tour de
force...What a combination for all of us who are starving
for hard driving poly-rhythmic intellegent and guttoral
rock and roll unpolluted with empty filler.
Within the first two tracks I was more than convinced
and had the fever of a gold rush prospector.
The title track, “Unonou” blasts the senses and immediately assures the listener
the band’s intent is tightly worn, and well practiced. Hit potential for sure.
“Where Beauty and Terror Dance” is reminiscent of early Rush, but with a
darker sensibility.
“Emerald Snow of Sleep” has a Yes essence to it, and adds some interesting lines
from the bands keyboardist, Rockwell. He adds a uniqueness to the CD that is necessary, yet hard to describe. The elements of the song gather together for a stinging guitar
solo, then blends into a jazz-like horn arrangement at the end.
The 4th track,”A High or a Low” carries a boxy contrived sound to the mix. Along
with its elements of Cheap Trick and Lennon quasi- Beatles feel, there remains this
bands ability to incite incredibly stone-cold rock passages.
Haunted is the complex but controlled, almost Doors like frenzy of “Spinning
Temple Shifting”. Sparkles’ leads are prominent and culminating. He is well practiced
and has conquered monumental ground in the Prog arena and is more than impressive to say the least.
T
QUANDRY - Five Senses of Phantasm
Self Released
here’s nothing like a refreshing dose of heavy in just the right way. Metal has
its parameters for wiggle room, wherein individuality can become lost in
simply trying to keep w/ in its own confines.
Having never heard this trio before , I immediately figured that a band opening for
local monoliths Floater had to be good, so I picked them out to give a listen and ended
up giving it a 2nd, then 3rd go-around and was pretty impressed by this effort.
These dudes hail from Eugene originally as a high school party band, only to
temporarily break up and then regroup again in 2004 after realizing that they actually
had something good going.
FIve Senses of Phantasm bathes the listener in a bevy of textures with usual influences seeming from just the right places, allowing originality to chart the course.
One song blasts you with chunks of distortive thundering walls of power, while
the next track floats you down a soulful stream of consciousness. Quandry has no
problem meshing Megadeth-like power chording and disarray with an absolute dreamy
Floydian- like amiability, which glimmers through their certain pall of doom almost
in one collective breath. These guys are in tune with each other.
This CD delivers a few diverse styles, like African rhythm and middle-eastern
chord progressions, and slight industrial flavors delivered with smooth and sinister
overtones as well.
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The first track starts strong with a Nirvana flavor to it, but the feel is fastforwared to a modern day presence of mind. Highly original and perfect to open
the door. “Scarab” could levitate the dead up through the cold hard earth with its
shear power and angst .Emotion and mood sets the journey with a sort of a space
travel sensibility.
“Apostasy” plays out great with Guy’s thundering guitar lines setting the rhythm.
Here, Nate(Vocals,Bass,Keys) and Scotty(Percussion) seem to play behind him as
the rhythm section.
The attractive guitar tickling with an ivory like smoothness is polarized with a
bone crushing smash in “Shock Therapy”. The tonality is moving, with tight transitions. And Nate’s vocal styling is powerful and convincing.
“Deals” is the closer, and shows that the last can be as good as the first. Delivering classic controlled madness, harnessed at the end with a soothing piano line to
help lick the wounds.
I was also grateful they were wise enough to spare us from too much of the
over-used wolfen- growl that has wasted far too many megabytes where actual musical
creativity belongs - Plus, it’s just not scary anymore.
Five Senses of Phantasm is impressive. The CD embraces a diversity of style
within its genre pool while dipping enough in creative territories. Quandry has successfully forged a convincing attitude of Mean Metal along with a mind expanding
emotional appeal.
CHERRY POPPIN’ DADDIES
Wonder Ballroom
Portland, OR. 4.19.08
The shot-in-the-dark resurgence of the Swing movement in the NorthWest has
long been over...Well, not quite. Gone are the flap dancing Zoot Suit clad 20 and 30
somethings that crowded many a dance floor in the lat 90’s. And long gone also are a
good number of the bands that payed mostly worthy tributes to that great era.
Not gone however, is the fabulousCherry Poppin’ Daddies, who are arguablythebandwho single handedly jump-started the swing era resurgence in Portland and the
N.W. as early as the late 80’s. Their success has a lot to do with their smart inclusion
of ska, punk and “Rat Pack” elements. Spike Jones lyrical content, Sergio Mendez
interludes and Zappa-esque complicated note structuring definitely helped.
One of the coolest and unique attributes about the Daddies is that there’s
not much comparison to match them with. Yeah, there’sRoyal Crown Review who
maintain the 40’s and early 50’s hard-boiled approach. And there’s theSquirrel Nut
Zippers, who’s niche is more afforded to areas of Gypsy and Klezmer. But the CPD’s
have consistently re-evaluated the cutting edge of the times, and prevailed as relevant
and sharp.
The Daddies invigorated a nice sized crowd in Portland, partly in support of
their new CD, “Susquehanna”(see S.P. Clarke’s review). But the CPD’s still show an
all consuming fire to keep knocking out great numbers from their vast catalogue. This
crowd brought a little of the late 90’s swing crowd back, but a whole lot of the dancers were just regular Joe’s and Jane’s who just plain dig the excitable lure of the band’s
appeal, which has become legendary. I spoke with a very young couple who’d first
heard them in Jr. high school, “They are so way-out there, we’re so stoked and glad to
be here. They are unbelievably cool!”
Vocalist Steve Perry has lost neither of his moves nor his sweaty sex appeal as
he jumped, jived and waled on the stage. The chicks were reaching out with mouths
agaped and eyes agog while he crooned Sinatra-esque numbers, erstwhile twisting his
hips and vrooming his signature tenor voice with an Elvis-like vibrato. Steve muses,
“Our audiences have morphed over the years from hippies and grungers, to swing and
www.pawntalk.com
the ska crowd, and always the rockabilly and hipsters. Now with the internet we’ve
got quite a metal fan base.”
This is no surprise since from their debut album, “Ferociously Stoned” these
guys were breaking all molds by fusing countless genres together, but with a clear nod
to Swing as a modus-operandi. “We’ve always tried to keep making it different. We’re
just trying to justify american music by giving it a different slant wherever we can. Pop
music is just the palette to work from as a starting point, and then just fuck with the
dead space.” The Band moved through a great variety of new and old, kicking them
out with just enough of their original vintage feel, but taking the songs through some
updated modes to keep them interesting.”
An important note is that Perry recently finished up a degree in molecular genetics that took him some 22 years to accomplish. Not because of a lacking of ambition
or good grades, but because he vowed to keep his well-oiled machine of top notch
musicians on the march. “I can’t do music and biology at the same time”, says Perry.
We think you can.
HELL’S BELLES:
DANTE’S
3.22.08
These four femme fatale’s project within feminine maelstrom of high voltage
sound, but with a shot of testosterone you have to hear to totally appreciate. They no
doubt bust their balls cranking out AC/DC like there’s no tomorrow. Crank it to the
breaking point, look everyone in the eye, and pull the trigger.
I’ve seen the Belles’ audience get bigger every year, and it’s no wonder they do,
because they always return packing just a little more iron and ferocity.
Dante’s must’ve had a trouble keeping the place cooled off at saturday’s show. The
crowd was packed, the alcohol was pouring, sweat was steaming off of lead guitarist
Adrian Conner and singer Jamie Nova as they puffed and pounded through so many
of the Australian hard rock band’s catalogue, it would be daunting to list. I don’t know
about anyone else, but I’m pretty sure I heard them cover much more than I expected.
Hearing them burn through “Whole Lotta Rosie”,” Back In Black”, “Hell’s Bells” and
“Dirt Deeds’ during the first set made it worth the trip. And nothings quite as good
with your live rock and roll set than a little strip tease act, and mid show BA. At least
we get to view Adrian’s buff derriere instead of Angus’ puny butt. After that we know
we’re going to get the psycho Angus-like circle floor spindle guitar solo. Adrian ran
around like a crazy clock hand and must’ve held that floor down for a good 2 minutes
while blistering out “Thunderstruck”. She straddled, mocked, praised, saluted, and
flipped off all around her and never stopped. Then she got up and continued the last
section of the song pounding both feet on the mat. The crowd went wild.
They are touring in support of their recent CD, We Salute You, which exhibits
their fine-honed skills as seasoned Professionals. Covering along with some well known
songs like “Back In Black”, and for “Those About To Rock’, lessor known numbers
“Walk All Over You”, and “Let There Be Rock”, are astoundingly accurate and heavy.
“Riff Raff” is my pick of the litter for a great song that has never gotten the attention
it deserved in the first place. Adrian knocks it out of the park, with stellar backbone
support on rhythm guitar by Lisa Brisbois. These girls have the spirit within them to
carry this torch a long way - And their packed audiences will help them with both arms
shafted firmly in the air to greet them.
AC/DC may play seemingly easy licks, but seasoned guitarists agree few bands
have been able to pull off such raw ferver and intensity as they do. It’s irresistably cool
to hear and see women grabbing the wheel and drive one of the biggest monster trucks
known to man...”All in the name of Liberty.”
the musicians loan center
Portland’s Finest Pawn Shop. One SuperStore Location to Serve You. 2122 NE Sandy Portland, OR 97232
(503) 813-9273
Breakneck
Betties
Domesticated
Violence
Breakneck Betties
Next Game
August 9th
Guitar from
Portland Music
531 SE MLK
503-226-3719
Hair
Stephanie Ponso
Make Up
Briana Faris
Guitar - 1963 Crucianelli Elite
You can also see this guide online at buko.net, to
save space long equipment lists are limited to the
online listings.
Attorneys
Bruce D. McLaughlin
Attorney at Law, P.C.
PO Box 25059, Portland, OR 97298
Phone: 503-644-9597
Fax: 503-644-9598
Email: bmclaugh@davidbowie.com
Attorneys Entertainment
Jeff Brown
1327 SE Tacoma St., PMB #262
Portland, OR 97202
Email: jeffbrownlegal@gmail.com
Bart Day
1001 S.W. Fifth Avenue, Suite 1100,
Portland, Oregon 97204
Phone: 503/291-9300
Email: allmedia@hevanet.com
Peter Vaughan Shaver, Esq.
3939 NE Hancock St. Suite 308
Portland, OR 97212
Phone: 503-473-8252
Fax: 503-288-5219
Email:pv@pdxsa.com
Jay M. Schornstein
1609 SE 48th Avenue
Portland, OR 97215
Phone: 503-232-3498
Fax: 503-231-6491
Email: schornj@aracnet.com
Band Listings
can be found online at buko.net
Design and Photography Services
by Buko
PO Box 13480 Portland OR 97213
Email: buko@bybuko.com
Web: www.bybuko.com
Specalize in Photography and Print Design some
web.
Cravedog Inc.
1522 N Ainsworth St.
Portland, OR 97217
Phone:(503) 233-7284
Toll free: 866-469-9820
Email: info@Cravedog.com
Web: www.Cravedog.com
Owner: Todd Crosby.
Graphics for CD packaging with order.
Get Up Media
Phone: 971-227-8929
Email: info@getupmedia.com
Web: www.getupmedia.com
Specalize in web design, myspace design and
marketing, graphic work and photo editing.
Juliana Tobón • Photographer
Phone: 503.544.5882
email: info@jtobon.com
web: www.jtobon.com
Nettleingham Audio
108 E 35th Vancouver, WA, 98663
Toll Free: 888-261-5086
Phone: 360-696-5999
Email: kevin@nettleinghamaudio.com
Web: www.nettleinghamaudio.com
Owner: Kevin Nettleingham
Graphics for CD packaging with order.
Silverlining Media
Phone: 503-805-1259
Email: kevin@silverliningmedia.net
Web: www.silverliningmedia.net
Specalize in web design.
Zap Graphics
2014 NE Sandy Blvd. Suite 208 Portland, OR.
97232
phone: (503) 232-8785
Web: www.zapgraphics.com
Email: keith@zapgraphics.com
CD packaging design and production
Photography, Web design
Advertising, Graphic Design
Duplication/Manufacturing
Allied Vaughn
1434 NW 17th Avenue
Portland, OR, 97209
Phone: 503-224-3835
Email: kevin.felts@alliedvaughn.com
Web: www.alliedvaughn.com
Contact: Kevin Felts
Rates posted at website: no
500 CD Package Cost = $1,895.00 3 color on-disc
printing 4/1 4-panel insert + tray card, in jewel
case with shrinkwrap.
1000 CD Package Cost = $1,795.00 3 color
on-disc printing. 4/1 4-panel insert + tray card, in
jewel case with shrinkwrap.
Audio Duplication Plus
5319 SW Westgate Drive
Portland, OR, 97221
Phone: 503-203-8101
Email: audupplus@aol.com
Web: www.avduplication.com
Contact: Bruce Hemingway
Rates posted at website: no
500 CD Package Cost = $1,050 Retail Ready
package. Descriptions unavailable.
1000 CD Package Cost = $1,300.00 Retail Ready
package. Descriptions unavailable.
BullseyeDisc
3377 SE Division, #105
Portland, OR 97202
Toll Free: 800-652-7194
Phone: 503.233.2313
Fax: 503.233.4845
Email: mail@bullseyedisc.com
Web: www.bullseyedisc.com
Rates available at website: yes
CD Forge
1420 NW Lovejoy Suite #327
Portland OR 97209
Phone: 503.736.3261
Fax: 503.736.3264
Email: info@cdforge.com
Web: www.cdforge.com
Rates posted at website: get an instant, fully
customized quote.
Co-Operations, Inc.
20049 SW 112th Ave
Tualatin, OR 97062
Toll Free: 866-228-6362
Phone: 503-620-7977
Fax: 503-620-7917
Email: contact@co-operations.com
Web: www.co-operations.com
Rates posted at website: no.
Cravedog Inc.
1522 N Ainsworth St.
Portland, OR 97217
Toll Free: 866-469-9820
Phone: 503-233-7284
Email: info@Cravedog.com
Web: www.Cravedog.com
Owner: Todd Crosby.
Rates posted at website: yes
1000 CD Package Cost = $1,220.00 3 color
on-disc printing. 4/1 4-panel insert + tray card, in
jewel case with shrinkwrap. Call for 4/4 pricing.
Dungeon Replication
106 SE 11th Avenue,
Portland, OR 97214
TollFree: 877-777-7276
Phone: 503-796-0380
Fax: 503-223-4737
Email: info@dungeon-replication.com
Web: www.dungeon-replication.com
Rates posted on website: yes
1000 CD Package Cost = $1,235.00 Includes glass
master, 3 color on-disc printing, 4/1 four panel
folder, 4/0 tray card, jewel case, assembly and
shrinkwrap. You supply the film.
Logic General
26200 SW 95th Avenue, Suite 300 Wilsonville,
OR 97070
Toll Free: 800-959-7747
Phone: 503-598-7747
Fax: 503-598-9375
Email: oregonsales@logicgen.com
Web: www.logicgen.com
Rates posted on website: no.
Nettleingham Audio
108 E 35th Vancouver, WA, 98663
Toll Free: 888-261-5086
Phone: 360-696-5999
Email: kevin@nettleinghamaudio.com
Owener: Kevin Nettleingham
500 CD Package Cost = $945.00 5 color on disc
print, 4 page 4/1 insert and traycard, (black or
clear tray) Jewel Cases and Overwrap, free bar
code, no overs, shipping to the Portland/Vancouver area.
1000 CD Package Cost = $1,180.00 5 color on
disc print, 4 page 4/1 insert and traycard, (black
or clear tray) Jewel Cases and Overwrap, free
bar code, no overs, shipping to the Portland/
Vancouver area.
NWMedia
106 SE 11th Avenue
Toll Free: 800.547.2252
Local: 503.223.5010
Fax: 503.223.4737
Email: info@nwmedia.com
Web: www.nwmedia.com
Retail Ready packages - Short Run/Fast Turn
packages – Recycled paper stock options – Jewel
case/Digipaks/Wallets/Sleeves – Posters/Flyers/
Stickers – 100 posters = $49, 300 posters = $99
with a retail-ready package – Call for the latest
specials!
Phylco Audio Duplication
10431 Blackwell Rd.
Central Point, OR, 97502
Toll Free: 800-348-6194 Phone: 541-855-7484
Fax: 541-855-7581
Email: info@phylcoaudio.com
Web: www.phylcoaudio.com
Contact: Gail Husa
500 CD Package Cost = $936.00 2-panel full color
insert and tray card (4/1, full color outside, black
and white inside) , 2 color on CD, insertion of
printing into jewel case, shrink wrap, and barcode.”
1000 CD Package Cost = $1,224.00 2-panel full
color insert and tray card (4/1, full color outside,
black and white inside) , 2 color on CD, insertion
of printing into jewel case, shrink wrap, and
barcode.
SuperDigital
1150 Nw 17th Ave
Portland, OR 97209-2403
Toll Free: 888-792-8346 (orders only)
Phone: 503-228-2222
Email: superdigital@superdigital.com
Web: www.superdigital.com
Owner: Rick McMillen
500 CD Package Cost = $950.00
3 Color Printing on disc- from supplied film1100
4 page Full Color(4/1) Booklets & Tray cards
from supplied color film. Includes FREE UPC
BarCode, glass master, jewel case and wrap.
1000 CD Package Cost = $1,165.00 3 Color
Printing on disc- from supplied film1100 4 page
Full Color(4/1) Booklets & Tray cards from supplied color film. Includes FREE UPC BarCode,
glass master, jewel case and wrap.
Labels
Burnside Records
3158 E. Burnside Portland, OR 97214
Phone: (503) 231-0876
Fax: (503) 238-0420
Email: music@burnsiderecords.com
Web: www.burnsiderecords.com
Owners: Terry Currier & Jim Brandt
Producers: Various
Types of music released: Blues
Artist roster: Mason Ruffner, Henry Cooper, Paul
Brasch,Johnny & the Distractions, John Fahey,
M.Doeherty, Mick Clarke, David Friesen, Obo
Addy, Lloyd Jones, Too Slim & the Taildraggers,
Kelly Joe Phelps, Terry Robb, Duffy Bishop Band,
McKinley, Gary Myrick, Sheila Wilcoxson Bill
Rhoades & Alan Hager, Bugs Henderson.
Distribution: Burnside sub-distributes two 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.
Cavity Search Records
P.O. Box 42246 Portland, OR 97242
Email: csr@teleport.com
Web: www.cavitysearchrecords.com Owners:
Denny Swofford, Christopher Cooper Types of
Music Released: Music we like by bands/artists
we like. Artist Roster: Pete Krebs, Pete Krebs &
Gossamer Wings, King Black Acid, Richmond
Fontaine, Golden Delicious, Wayne Horvitz,
Steve Lacy, Elliott Sharp, Elliott Smith.
Criminal 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.
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
Email: DZRRecords@aol.com
Contact: Steve Landsberg.
Elemental Records
PO Box 55771
Phone: 503-803-6020
Email: cassandrabanton@hotmail.com
Web: www.elementalrecords.com
President: Cassandra Banton
Vice President: Robert Wynia
Exec Producer: Diogenes Alexander Xenos
Roster Management: Aaron Thorpe
Active Roster: Floater, TV:616, Blyss Available:
Jollymon, Sweaty Nipples, Henry’s Child, NW
Compilations
Distribution: Direct, Burnside, Valley Records
EON Records
PO Box 5665
Portland, OR 97228
Email: eonrecords@aol.com
Web: www.eonrecords.com
Owners: Tommy/John Thayer
Producers: Various
Types of music released: new
Artist roster: 28 IF, Black’n Blue, Dan Reed
Distribution: Nail Distribution/Portland, OR
Eurock
Phone: 503-281-0247
Fax: 281-0247
Email: apatters@eurock.com
Web: www.eurock.com
Owner: Archie Patterson
Types of music released: License recordings by
European & American artists.
Submission Formats: CD’s.
Kinds of deals usually offered: CDs.
Artist Roster: Dweller at the Threshold, Gandalf,
Robert J. Horky, Erik Wollo, Green Isac, Tim Story,
Mikhail Chekalin.
Distribution: DNA North America, Burnside
Records.
Flying Heart Records
4026 N.E. 12th Ave.
Portland, OR 97212
Phone: 503-287-8045
Email: flyheart@teleport.com
Web: www.teleport.com/~flyheart/
Owner: Jan Celt
Producer: Jan Celt
Types of music released: Original NW artists and
related projects.
Submission Formats: Demo cassettes.
Kinds of deals usually offered: Album projects,
Publishing of related materials.
Other services offered: producer services and bands
wishing to make their own releases.
Artist roster: Janice Scroggins, Tom McFarland,
Obo Addy, The Esquires, Napalm Beach, SnoBud
& the Flower People, Snobud Comics by Chris
Newman, Phillip’s Dream World coloring book for
children, written and illustrated by Chris Newman,
Eddie Harris, Thara Memory, the Gays.
Distribution: Burnside.
Heinz Records
728 SW 1st Ave Portland, OR 97204
Mailing Address: P.O. Box 4628,
Portland, OR 97208
Phone: 503-249-0808
Fax: 503-249-7842
Submission format: We are not accepting submissions right now.
Artist roster: Pink Martini,
3 Leg Torso, Le Happy
Web: www.pinkmartini.com.
Jus Family Records
3439 NE Sandy Blvd #701
Portland, Ore 97232
Phone: 800- 757-1851
Email: JusFamily@aol.com
Web: www.jusfamilyrecords.com
Owners: Terrance Scott, Bosco Kawte
Types of music released: Hip-Hop, R&B and any
other form of good music.
Submission Formats: cassettes
Artist Roster: Cool Nutz, Kenny Mack, G-Ism,
Monkey Mike.
National Dust Records
P.O.Box 2454 Portland, OR 97208
Phone: 503-903-0625
Web: www.angelfire.com/nd2/nationaldustrecords
Email: nationaldust@hotmail.com
Contact: Shan
Producer: the bands choice.
Types of music released: Punk rock, rock’n roll.
Submission Formats: tapes/records.
Kind of deals offered: % of product pressed.
Artist roster: Apt. 3G, Nixon Flat, Nervous Christians, Jimmies, Low Rent Souls, Lazy Boy. Distribution: Profane Existence, N.A.I.L., EFA (Europe).
MDR 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
Email: label@psycheclectic.com
Contact: William Weikart
Artist roster: Garmonbozia, James Angell and
Obscured by Clouds
Tombstone Records
16631 SE 82nd Drive
Clackamas, Oregon 97015
Mailing Address: P.O. Box 1463, Clackamas, OR
97015 U.S.A.
Phone: 503-657-0929
Fax: 503-631-2797
Web: www.deadmoonusa.com
Owners: Fred & Toody Cole
Producer: Fred Cole
Types of music released: MONO ONLY!! Mostly
original garage and psychedelic, raw rock ‘n roll.
Submission Formats: Tapes mixed down to 1/4”
reel to reel. DATcassette or high-quality cassette.
Kind of deals usually offered: We press mostly 45s,
but can do LPs and CDs.
Artist Roster: Dead Moon, Flapjacks, Spider Babies,
Jr. Samples, 8 Ft.Tender, Hardship, Asthma Hounds,
Deadbeat Hearts.
Distribution: Get Hip, Revolver, Mordam, NAIL,
Subterranean, Burnside Distribution (CD’s only).
Mastering
Fax: 360.696.3108
Website: www.apeovermusic.com
Store Hours: M-Th: 10-7 | Fri: 10-6 | Sat: 10-5 |
Sun: 12-4
Apex Pro Audio and Lighting
1274 Liberty St. NE
Salem, OR. 97303
503.363.3555
Fax: 503.363.3791
Website: www.apexproaudio.com
Email: joel@apexproaudio.com
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
Email: apple@teleport.com
Business Hours: Mon-Sat: 10:30- 6:30 | Sun:1- 5
Artichoke Music
Address: 3130 S.E. Hawthorne Blvd.,
Portland, OR 97214
Phone: 503-232-8845
Fax: (503) 232-3476
Store Hours: Tue-Sat: 11-6 | Sun: 12-5
Web: www.artichokemusic.com
Email: folks@artichokemusic.com
Portland’s Premier Folk Music Shop and Guitar
Emporium
Beaverton Music Services, Inc.
12630 SW 1st St. Beaverton, OR. 97005
Phone: (503) 643-5431
Blue Dot Guitars
Address: 502 7th. St. Oregon City, Or 97045
Phone: 503.656.1913
Web: www.bluedotguitars.com
Email: chris@bluedotguitars.com
Store Hours: M-Th 11am - 8pm Fri & Sat 11am
- 5pm
We are now Fender Authorized Warranty Service
Center
Freq Mastering
1624 SW Alder Portland, OR 97205
Phone: 503-222-9444
Fax: 503-222-6446
Email: ryanfoster@freqmastering.com
Web: www.freqmastering.com
Guitar Crazy
Address: 3319 SE Division Portland , OR 97202
Phone: 503-238-4487
Web: www.guitarcrazy.com
Email: guitarcrazymail@aol.com
Store Hours: APPOINTMENTS ENCOURAGED
Wed & Fri Noon - 6:00pm Thurs & Sat Noon - 4:00pm
Nettleingham Audio
108 East 35th Street Vancouver, Washington
98663-2207
Toll Free: 888.261.5086
Phone: 360.696.5999
Centaur Guitar
Address: 2833 NE Sandy Blvd. Portland OR 97232
Phone: 503-236-8711
Web: www.centaurguitar.com
Email: info@centaurguitar.com
Store Hours: Daily 10:00am - 7:00pm
Northstar Recording Studios
313716 SE Ramona Street
Phone: 503-760-7777
Fax: 503-760-4342
Web: http://www.northstarsamples.com/studio/
index.html
Five Star Guitars
2303 NW 185th Ave.
Hillsboro, OR 97124
in the Tanasbourne Village Shopping Center.
voice: 503.439.9500
fax: 503.533.2134
http://www.fivestarguitars.com
Store Hours: M-F: 10-7 | Sat: 10-5 | Sun: 12-5
SuperDigital Ltd /
Purple Mastering Studio
1150 N.W. 17th Portland OR 97209 Phone:
503-228-2222
Music Stores
Ape Over Music
3909 Main Street
Vancouver, Wa. 98663
360.696.3100
Guitar Center Clackamas
13029 Southeast 84th Ave.
Clackamas, Oregon 97015
Phone: 503-654-0100
Fax: 503-654-0300
Manager: Brian Harrison
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
Email: staff@portlandmusiccompany.com
Store Hours: M-F: 10- 6:30 | Sat:10- 6 | Sat:10- 6
Broadway Acoustic store:
2502 NE Broadway
Portland OR 97232
-Acoustic instruments, band and orchestra instruments.
Email: broadway@spiritone.com
Store Hours: M-F: 10- 6:30 | Sat:10- 6 | Sun:11- 5
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
Email: pmcwest@spiritone.com
Sheet Music Closed on Sunday
Eastside, Division store:
Address: 12334 SE Division
Portland OR
-All instruments and sheet music
Rhythm Traders’
Address: 424 NE Broadway,
Portland, OR 97232
Web: www.rhythmtraders.com
Email: info@rhythmtraders.com
Store Hours: M-Sat: 11- 7 | Sun:12- 5
Showcase Music and Sound
Portland, OR. 97214
Toll Free: 888-240-4048
Phone: (503) 231-7027
Web: www.showcasemusicandsound.com
Email:showcase@showcasemusic.com
Guitar Castle
3439 State St. Salem, OR. 97301
Phone: (503) 364-2757
Salem’s Vintage Guitar Store
Tigard Music
Address: 11579 Sw Pacific Hwy,
Tigard, OR 97223
Phone: 503-620-2844
Web: www.tigardmusic.com
Store Hours: M-Th: 10-8 Fri-Sat: 10- 6
Guitar Center
Guitar Center Beaverton
9575 S.W. Cascade Ave.
Beaverton, Oregon 97008
Phone: 503-644-9500
Fax: 503-644-9600
Manager: Gabe McFadden
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”
Musicians Resource Guide
Studios: Gung-Ho Studios (Eugene), Freq
(Portland)
Submission format: CD or high quality video
Offering: Unusual agreements for the right bands.
Store Hours: M-F: 10-6 | Sat: 10-5 | Closed Sunday
Weathers Music Corp.
2825 Commercial St. Southeast
Salem, OR. 97301
Phone: (503) 362-8708
Web: www.weathersmusic.com
Production
Bruce McLaughlin
Lighting Specialist
PO Box 25059, Portland, OR 97298
Phone: 503-644-9597
Fax: 503-644-9598
Email: bmclaugh@davidbowie.com
Brownell Sound
12115 S.E. 82 nd. Ave. Suite D
Portland, OR 97086
Toll Free: 800-755-1665
Phone: 503-652-2160
Fax: 503-652-2764
Email: sales@brownellsound.com
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
Email Department Contacts
Rentals - Greg Eggen greg.eggen@hollywoodlighting.biz
Production - Gavin D’Avanther - gavin@hollywoodlighting.biz
Retail Sales - Dena Poer dena.poer@hollywoodlighting.biz
System Sales - Sean Chiles sean.chiles@hollywoodlighting.biz
Electrical Services Frank Locke frank.locke@hollywoodlights.biz
Web: www.hollywoodlighting.biz
Showroom Hours: Mon- Fri-: 8AM - 6PM
Saturday 9AM - 1PM, Sunday Closed
Jamac Speaker Co.
8600 NE Sandy Blvd.
Portland,OR. 97220
Phone: (503) 252-2929
Web: www.jamacspeakers.com
Store Hours: Mon-Fri 9:00 am to 5:00 pm
Special late night hours on Monday: 7:30 to 9:00 pm
Mark McNeill
Live Sound Engineer
503.704.8130
Text message: 5037048130@mobile.att.net
Email: mmcneill@hotmail.com
PowerMac Pac
12310 NE Whitaker Way
Portland, OR. 97230
Toll Free: 800-460-8080
Local: (503) 256-5210
Web: www.powermac.com
Consumer sales: sales@macpac.com
Business sales: corporate@macpac.com
Service help: service@macpac.com
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
Portland, OR 97214
Toll Free: 888-240-4048
Phone: 503-231-7027
Rental Manager: Tim “TC” Chassaing
Email: rentals@showcasemusic.com
Web: www.showcasemusicandsound.com/rentals/
rentals.htm
Hours: Monday through Friday: 10AM - 7PM
Saturday 10AM - 6PM Sunday 11AM - 6PM
Soundguy Productions
PO Box 68466
Oak Grove, OR 97268
Phone: 503-998-5420
Web: www.prosoundguy.com
Sound system, audio/video rentals, on-site recording,
some backline and lighting.
Publicity/Promotion
In Music We Trust PR
15213 SE Bevington Avenue Portland, OR
97267-3355
Phone: 503-557-9661
Owner: Alex Steininger
Email: alex@inmusicwetrust.com
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
Email: kaytea@xopublicity.com
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;
Dallas, OR 97338
Mail Address: P. O. Box 469; Dallas, OR 97338
Phone: (503) 623 - 0245
Fax: (503) 623 - 6733
Web: www.kwip.com
General Manager: Diane Burns
Email: lvilla@kwip.com
General Manager: Paul Clithero
Program Director: Steve Nicholl
FM
KBVR 88.7 fm – Oregon State University
Format: All Music
Street Address: 210 Memorial Union East
Corvallis OR. 97331
Phone: 541-737-2008
Fax: 541-737-4545
Web: oregonstate.edu/dept/kbvr/html/index.php
Station Manager: Jeremy Tricola
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
KAOS 89.3 fm Evergreen State College
Format: All Music, Women’s issues, Native American, Spanish Language, Democracy Now, Comedy,
Local, National and International public affairs.
Mailing Address: KAOS Olympia Community Radio
The Evergreen State College- CAB 301
2700 Evergreen Parkway
Olympia, WA. 98505
Phone: 360-867-6895
Web: kaos.evergreen.edu
General Manager: Jerry Drummond
KUOI 89.3 fm University of Idaho
Format: Music, Alternative News from Pacifica
Network, and Broadcast Journalism
Mailing Address: KUOI-FM University of Idaho
3rd floor Student Union Building
Campus Box 444272
Moscow, ID. 83844-4272
Phone: 208-885-2218
Web: kuoi.com
Station Manager: Andy Jacobson
Program Director: Mike Siemens
KLCC 89.7 fm - Lane Community College
Format: All Music
Street Address: 136 W. 8th Ave.
Eugene, OR. 97401
Business Office: 800-922-3682 or 541-463-6000
Web: www.klcc.org
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
KBGA 89.9 FM University of Montana
Format: Alternative, Variety, News, and Sports
Mailing Address: KBGA Radio- University of Montana
University Center Room 208
Missoula, MT 59812
Phone: 406-243-6758
Web: www.kbga.org
Office assistant: Greg Ragan
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: Tony Prato
Email: programming@kpsu.org
Station Manager: Jeremy Hardy
KBPS - 89.9 fm - All Classical
Format: Classical
Street Address: 515 NE 15th Avenue, Portland,
OR 97232
Phone: 503-943-5828
Fax: 503-802-9456
Web: www.allclassical.org
Email: music.info@allclassical.org
KKAD - 1550 am - the music of your life
Format: Classic American Standards of yesterday
and today
Street Address: 6605 SE Lake Rd.
Portland, OR 97222
Phone: 503.223.4321
Fax: 503.294.0074
Web: www.kpsu.org
KEXP 90.3 fm University of Washington
Format: All Music
Mailing Address: KEXP 90.3 FM
113 Dexter Ave. North
Seattle, WA. 98109
Business Line: 206-520-5800
Program Director: 206-520-5833
Web: kexp.org
KBOO - 90.7 fm - Community Radio
Format: providing programming for unpopular,
controversial, or neglected perspectives
Street Address: 20 SE 8th Avenue,
Portland, OR 97214
Phone: 503-231-8032
Fax: 503-231-7145
Web: www.kboo.fm
Program Director: Chris Merrick
Music Director: Brandon Lieberman
KGON - 92.3 fm Classic Rock
Format: Classic Rock
Phone: 503.223.1441
Fax: 503.223.6909
Web: www.kgon.com
Program Director: Clark Ryan
KNRK - 94.7 fm Alternative Portland
Format: Alternative
Phone: 503-223-1441
Fax: 503-223-6909
Web: http://947.fm
Program Director: Mark Hamilton
KYCH - 97.1 fm Charlie FM,
We play everything
Format: Adult contemporary
Phone: 503-223-1441
Web: www.charliefm.com
KUPL - 98.7 fm
Format: Country
Street Address: 222 SW Columbia Suite 350,
Portland, OR 97201
Phone: 503-223-0300
Web: www.kupl.com
Program Director: John Paul
KWJJ - 99.5 fm - the Wolf
Format: Country
Phone: 503-223-1441
Fax: 503-223-6909
Web: www.thewolfonline.com
General Manager: Jack Hutchison
Program Director: Mike Moore
KKRZ - 100.3 fm Z100
Format: #1 hit music station
Street Address: 4949 SW Macadam Ave. Portland,
Oregon 97239
Phone: 503-323-6400
Fax: 503-323-6660
Web: www.z100portland.com
Email: from site
KUFO - 101.1 fm - the only station that really rocks
Format: Hard Rock, Metal
Street Address: 2040 SW First Avenue,
Portland, OR 97201
Phone: 503-222-1011
Fax: 503.222.2047
Web: www.kufo.com
KINK - 101.9 fm - FM 102 true to the music
Format: Album Rock
Street Address: 1501 SW Jefferson,
Portland, OR 97201
Phone: 503-517-6000
Fax: 503-517-6100
Web: www.kink.fm
General Manager: Stan Mak
Program Director: Dennis Constantine
Music Director: Kevin Welch
KKCW - 103.3 fm - K103 soft rock favorites
Format: Soft Rock
Street Address: 4949 SW Macadam Avenue Portland, OR 97239
Phone: 503-222-5103
Fax: 503-241-1033
KFIS - 104.4 fm - the Fish
Format: Contemporary Christian music
Street Address: 6400 S.E. Lake Rd, Suite 350,
Portland, OR 97222
Phone: 503-786-0600
Fax: 503-786-1551
Web: www.1041thefish.com
Program Director: Dave Arthur
Music Director: Kat Taylor
KRSK - 105.1 fm - the Buzz
Format: Rock
Street Address: 0700 S.W. Bancroft St. Portland,
OR 97239
Phone: 503-223-1441
Fax: 503-223-6909
Web: www.1051thebuzz.com
Email: from site
Music Director: Sheryl Stewart
KOOL - 105.9 fm The Greatest hits of all time
Format: Classic Rock
Street Address: 4949 SW Macadam Avenue Portland, OR 97239
Phone: 503-323-6400
Fax: 503-323-6664
Web: www.kool1059.com
Email: from site
KLTH - 106.7 fm - home of the 60’s & 70’s
Format: Rock
Street Address: 222 SW Columbia St. Suite 350,
Portland, OR 97201
Phone: 503-223-0300
Web: www.khits1067.com
Email: from site
Record Shops
Centaur Guitar
Address: 2833 NE Sandy Blvd. Portland OR 97232
Phone: 503-236-8711
Web: www.centaurguitar.com
Email: info@centaurguitar.com
Store Hours: Daily 10:00am - 7:00pm
Crossroads Music
3130 SE Hawthorne
Portland, OR. 97214
Phone: (503) 232-1767
Email: xro@xroads.com
Web: www.xro.com
Store hours: Mon-Thur: 11am to 6pm,
Fri - Sat: 11am to 7pm Sun: 11am to 6pm
Everyday Music
All stores open 9am ‘til midnight 365 days a year
Web: www.everydaymusic.com
Downtown
1313 W. Burnside
Portland, OR 97209
503.274.0961
fax: 503.274.9831
Eastside
1931 NE Sandy Blvd.
Portland OR 97232
503.239.7610
fax: 503.239.1730
Beaverton
3290 SW Cedar Hills Blvd.
Beaverton, OR 97005
503.350.0907
fax: 503.350.1966
Seattle/Capitol Hill
112 Broadway E.
Seattle, WA 98102
206.568.3321
fax: 206.568.5114
Music Millennium
3158 E. Burnside Portland, OR. 97214
Phone: (503) 231-8926
Fax: (503) 238-2020
Web: www.musicmillennium.com
email: earful@musicmillennium.com
Music Millenium- Classical
3144 E. Burnside Portland,OR. 97214
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
Ranch Records
170 Liberty St. NE Salem, OR. 97301
Phone: (503) 362-8515
Rehearsal Studios
Bongo Fury
14181 SW Millikan Way
Beaverton,OR. 97005
503.970.0799
Website: www.bongo-fury.com
Safe and Secure- room storage with building
monitored 24/7
All music genres. Monthly and hourly rates.
Man In Black Studio
503.309-2756
Website: maninblackmusic.com
Email: from site
Located in SW Portland off Interstate 5
Monthly and hourly rates.
Rock Around The Clock PDX
2329 NW 23rd Place
Portland, OR. 97210
503.241.2609
Website: rockaroundtheclockpdx.com
Email: rockaroundtheclockpdx@gmailcom
High Tech Digital Security System, Double locking
doors, Indoor drive-in dock with lift
for easy loading.
Suburbia Studios
623 SE Market St.
Portland, OR. 97214
503.736.9329
503.309.4254
Website: www.suburbiastudios.net
Email: info@suburbiastudios.net
suburbiastudios@quest.net
24 Hour Access. On-site Security. Monthly and
hourly rates
Repair
All Service Musical Electronics Repair
(Formerly KMA Electronics)
617 S.E. Morrison,
Portland, OR 97214
Phone/Fax: (503) 231-6552
Toll Free: 1-888-231-6552
Email: service@asmusic.org
Website: www.all-service-musical.com
Contact: Randy Morgan
Services: Quality electronic service for musicians,
studios and music dealers. Factory authorized for
most major brands.
Hours: Mon: 9-4 | Tue-Fri: 9-6 | Sat: 10-4
Years Experience: 28+, over 20,000 repairs
performed.
Specialties: Service and repair of pro audio gear,
guitar amps, keyboards, studio equipment, and
home audio gear. From vintage to state-of-the-art.
If you can plug it in and make music with it, we
probably repair it.
Clients: We have performed repairs for almost every
music store in Portland and Vancouver. We have
done work for dozens of national acts and many
local artists. We have clients from coast to coast, but
we like our local customers the most!
Bass Basses
233 NE 28th
Portland, OR. 97232
Contact: Patrick Marshall
Phone: 503.236.BASS
1.800.408.BASS
Workshop Specialty: Violins, violas, cellos, and
upright bass.
Offering restoration, rentals, repairs,sales and
custom or traditional building.
By Appointment please(very flexible)
Email: bart@bartpro.com
Phone: 503-543-7664
Contact: Bart Hafeman
Fearless Guitars
5237 NE Sacramento
Portland,OR. 97213
Phone: (503) 287-3636
Email: gearsales@fearlessguitars.com
Web: www.fearlessguitars.com
Owner: Chance Walte
Services: We specialize in custom wiring harnesses,
pick-ups, repairs, boutique effects & more!
Hours: Tue- Sat: 11-6
Blue Dog Recording
1314 NW Irving
Portland, OR 97209
Phone: 503-295-2712
Email: brobertson@bluedogrecording.com
Web: www.bluedogrecording.com
Owner: Bruce Robertson
Big Red Studio
Corbett, Oregon (25 min. E of downtown
Portland)
Contact :Producer/engineer: Billy Oskay
Phone: 503-695-3420
Web site: www.bigredstudio.com
Email: billyo@bigredstudio.com
Inner Sound
1416 SE Morrison Street
Phone: (503) 238-1955
Fax: (503) 238-1787
Toll Free: 1-877-238-1955
Email: innersound@qwest.net
Speaker Repair: innerspeaker@qwest.net
Website: www.inner-sound.com
Owner: Jay Moskovitz
Established in 1978 Inner Sound is the largest audio
service center in the Pacific Northwest. Five fulltime technicians and a full-time office staff are ready
to suit your repair needs.
Services: Home Stereo, Professional Equipment,
Car Audio
Portland Fret Works
3039 NE Alberta St.
Portland, OR. 97211
Phone: (503) 249-3737
The 12th Fret
Address: 2402 Se Belmont
Phone: 503-231-1912
Fax: 503-231-0545
Web: www.the12thfret.com
Email: info@the12thfret.com
Store Hours: Tues - Fri: 10:30-6 | Sat:12-5
Guitar repair, custom modification, complete
restoration, and custom guitar building by master
craftsmen and luthiers since 1979.
Jamac Speaker Co.
8600 NE Sandy Blvd.
Portland,OR. 97220
Phone: (503) 252-2929
Web: www.jamacspeakers.com
Store Hours: M-F: 9-5
Special late night hours on Monday: 7:30 to 9:00 pm
Tigard Music
Address: 11579 Sw Pacific Hwy,
Tigard, OR 97223
Phone: 503-620-2844
Store Hours: M-Th: 10- 8 | Fri-Sat: 10- 6
Certified Woodwind/Brass Repair Team
Studios
Please check the studio listings at buko.net for the
complete listing of equipment for each studio.
An Unreel World
Lake Oswego (503)639-9364
Email: mannykeller@verizon.net
Owner: Karin Kopp
Bartholomew Productions
33470 Chinook Plaza, Ste. 345
Scappoose, Or 97056
Website: www.bartpro.com
Ronn Chick Recording
31209 NW 86th Circle
Vancouver, Washington 98665
Phone: 360-571-0200
Owner/Engineer: Ron Chick
Crossroads Productions
7708 NE 78th St.
Vancouver, WA 98662
Phone: 360.256.9077
Email: info@crossroadsproductions.net
Web: www.crossroadsproductions.net
Staff: Darren Bowls, Production/Artist Development.
Dead Aunt Thelma’s Studio
7923 SE 13th Ave.,
Portland, OR 97202
Mailing Address: P.O. Box 82222 Portland, OR
97282-0222
Website: www.thelmas.com
Email: mail@thelmas.com
Phone: 503.235.9693
Fax: 503.238.9627
Mike Moore: Studio Manager/Head Engineer
Nicole Campbell Peters: Assistant Studio Manager
The Doll House Digital Recording Studio
2329 NW 23rd Place
Portland, OR. 97210
818.987.7455
Owner/Engineer: Federico “Fed” Pol
Website: rockaroundtheclockpdx.com
Don Ross Productions
3097 Floral Hill Drive
Eugene, OR 97403
Website: www.donrossproductions.com
Email: don@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
Email: info@dig-recording.com
Web: www.dig-recording.com
Falcon Recording Studios
15A SE 15th Street
Contact: Dennis Carter
Phone: 503-236-3856
Email: falconstudios@comcast.net
Web: falconrecordingstudios.com
Fleschtone Records
Near Multnomah Village
Phone: 503 349 7883
Web: www.davefleschner.com
Email: davesattic@comcast.net
Web: www.k103.com
Email: from site
Program Director: Tony Coles
Fresh Tracks Studio
1813 S.E. 59th Portland, OR 97215
Website: www.freshtracksstudio.com
Email: jon@freshtracksstudio.com
Phone: 503.235.7402
Contact: Jon Lindahl
GoodJobStudio
(IT’S YOUR MIX)
NE Alberta ST
Contact: Johnny Martin
Phone: 503-422-1886
Email: info@goodjobstudio.com
Web: http://goodjobstudio.com
Gung-Ho Studios
86821 McMorott Lane
Eugene, Oregon 97402
Web: www.gunghostudio.com
Phone: 541-484-9352
Owner: Bill Barnett
Interlace Audio Production
457 NE Birchwood Dr.
Hillsboro, OR 97124
Website: www.interlaceaudio.com
Email: InterlaceAP@aol.com
Phone: 503.681.7619
Jackpot! Recording Studio
2420 SE 50th, Portland, OR 97206
Phone: 503-239-5389
Web: www.jackpotrecording.com
Myspace: www.myspace.com/jackpotrecording
Email: info@jackpotrecording.com
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
Lion’s Roehr Studio
5613 S.E. 69th Portland, OR 97206
Phone: 503-771-8384
Web: www.lionsroehr.com
Email: lionsroehr@gmail.com
Owner: Mike Roehr
Lost Studios
Web: www.lost-studios.com
Email: info@lost-studios.com
MastanMusic Studio
1028 SE Water Suite 230
Portland, OR 97214
Phone: 503.889.8646
Web: www.mastanmusic.com
Email: inquiries@mastanmusic.com
Owner: Jeremy Wilson
Mississippi Studios
3933 N Mississippi,
Portland, OR 97277
Studio Phone: 503-753-4473
Web: www.mississippistudios.com
Momentum Studios
109 SE Salmon St. Ste C
Portland, OR 97214
Phone: 503.239.6983
Email: record@momentumstudios.com
Web: www.momentumstudios.com
Opal Studio
6219 S.E. Powell
Portland, OR. 97206
Phone: 503-774-4310
Email: info@opal-studio.com
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
Email: john@reynoldsaudio.com
Web: www.reynoldsaudio.com
Contact: John Reynolds
September Media
Phone: 503.295.1277
Web: www.septaudio.com
Email: craig@septaudio.com
Engineer/producer: Craig Harding
Sound Impressions, Inc.
1920 N. Vancouver
Portland, OR 97227
Phone: 503-287-3975
Fax: 249-5021
Email: info@sound-impressions.com
Web: www.sound-impressions.com
Owner: Dan Decker
SuperDigital Ltd /
Purple Mastering Studio
1150 N.W. 17th Portland OR 97209
Phone: 503-228-2222
Venues
Aladdin Theater
3017 SE Milwaukie Blvd.
Portland, OR 97202
Info line: 503-233-1994
Format: All styles (no punk)
Booking: Mark Adler 503-234-9694
Email: crackadler@aol.com
Manager: Tom Sessa
Email: tom@aladdin-theater.com
Fax: 503-234-9699
Web: www.aladdin-theater.com
Capacity: 620
Equipment: PA, lights
Headliners: Brian Wilson (The Beach Boys), David
Crosby (Crosby, Stills, Nash And Young), Richard
Thompson, John Hiatt, John Prine, Beck, Emmylou
Harris, Everclear, Roger Hodgson (Supertramp),
Tragically Hip, Nils Lofgren (Crazy Horse/e. Street
Band), And Indigo Girls.Warren Zevon, Ray Davies,
Chic Corea, Keb Mo, Paula Cole
Alberta Street 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: albertastreetpub@gmail.com
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
Andina
1314 NW Glisan
Portland, OR 97210
503.228.9535
Website: www.andinarestaurant.com
Format: Acoustic
Booking: Contact Jels McCaulay
Capacity: 150
Equipment: ?
Artichoke Community Music- Backgate Stage Theatre
3130-A SE Hawthorne Blvd.
Portland,OR. 97214
Phone: (503) 232-8845
Web: www.artichokemusic.com
Email: folks@artichokemusic.com
Format: Acoustic Music
Booking: folks@artichokemusic.com
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
Email: ashstreetsaloon@aol.com
Web: www.ashstreetsaloon.com
Capacity: 350
Equipment: PA, mics, lights
Berbati’s Pan
231 SW Ankeny Portland, OR 97204
Venue: 10 SW 3rd Avenue, corner of 3rd and
Ankeny
Phone: 503.226.2122 1) for a calendar of events
2) for location and directions 3) for booking 4) to
reach a live human
Fax: 503-417-4222
Format: All music Booking: Anthony Sanchez.
Email: booking@berbati.com
Web: www.berbati.com
Capacity: 500
Load-in: mid-block on 3rd Avenue between
Burnside and Ankeny
Biddy McGraw’s
6000 NE Glisan St
Portland, OR 97213
503.233.1178
Website: www.biddys.com
Format: Mainly Traditional American and Irish
Music, some rock/funk/blues.
Booking: contact Ezra Holbrook 503.233.1178
Press kits mailed to: Ezra Holbrook
Biddy McGraws
6000 NE Glisan
Portland, OR. 97213
The Buffalo Gap Saloon
6835 SW Macadam Ave
Portland, OR 97219
Phone: 503.244.7111
Fax: 503.246.8848
Format: blue grass to pop Rock
For booking a show send a promo kit to The Buffalo
Gap Saloon C/O Booking 6835 SW Macadam Blvd.
Portland, OR 97219
Booking: Matt Roley.
Email: gapbooking@gmail.com
Songwriter Showcase/Open mic night inquiry
Contact: Matthew Kendall
Email: showcase@thebuffalogap.com
Web: www.thebuffalogap.com
Capacity: 85
Candlelight Cafe & Bar
2032 SW 5th Portland, OR
Phone: 503-222-3378
Fax: 503-223-8175
Format: Blues, Soul, R&B
Booking: Joe Shore.
Email: offshore@hotmail.com
Web: www.candlelightcafebar.com
Capacity: 110
Clyde’s Prime Rib Restaurant and Bar
5474 NE Sandy Blvd.
Portland, OR. 97213
Phone: (503) 281-9200
Web: www.clydesprimerib.com
Format: Jazz, Blues, and R&B
Booking Clyde Jenkins
Capacity: 100
Equipment: PA
Crystal Ballroom
1332 W. Burnside
Portland, OR 97209
Phone: 503-225-0047
Format: All Types
Booking: Joe Shore.
Email: crystal@danceonair.com
Web: www.mcmenamins.com
Capacity: 1500
Dante’s
1 SW 3rd Avenue & Burnside
Phone: 503-226-6630
Fax: 503-241-7239
Format: Live music and cabaret 7 nights a week.
Booking: Frank Faillace
Email: dantesbooking@qwest.net
Web: www.danteslive.com
Capacity: 400 with tables /
600 without tables
Devil’s Point Bar
5305 SE Foster Rd Portland, OR 97206
Phone: 503-774.4513
Format: Rock’n Roll Strip Club
Booking: Frank Faillace
Email: dantesbooking@qwest.net
Web: www.myspace.com/devilspoint
Capacity: ?
Doug Fir Lounge
830 East Burnside St.
Portland, OR 97214
Phone: 503-231.9663
Format: rock
Booking: Unsolicited submissions from bands and
DJs are always accepted by Doug Fir. Please send a
CD and current press kit including photo and bio
to: Booking Doug Fir Lounge 830 East Burnside St.
Portland, OR 97214
Email: booking@dougfirlounge.com
Web: www.dougfirlounge.com
Capacity: 299
Fez Ballroom
316 SW 11th Ave
Portland, OR 97205
Phone: 503-221-7262
Format: All music, DJs, Danceing
Booking: Micheal Ackerman
Email: bookings@fezballroom.com
Email: info@fezballroom.com
Web: www.fezballroom.com
Capacity: 300
Goodfoot
2845 SE Stark
Portland, OR 97214
503.239.9292
Format: All Music
Booking: Neil
Email: neil@thegoodfoot.com
Capacity: ?
Equipment: PA
Ground Kontrol
511 NW Couch
Portland, OR 97209
503.796.9364
Email: kontact@groundkontrol.com
Website: www.groundkontrol.com
Format: All Music and DJ’s
Booking email: booking@groundkontrol.com
Capacity: 179
Equipment: PA, Lights
Halibuts
2525 NE Alberta St.
Portland,OR. 97211
Phone: (503) 808-9600
Hawthorne Theatre
1507 SE 39th Ave
Portland, OR 97214
Phone: 503.233.7100
Format: All music
Booking Email:
hawthornetheatrebooking@gmail.com
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: nicholas@hawthornetheatre.com
Web: www.hawthornetheatre.com
Capacity: 600
Jimmy Mack’s
221 NW 10th Ave. (between Davis and Everett)
Portland, OR 97209
Phone: 503-295-6542
Format: Jazz
Booking Email: jmak@jimmymaks.com
Web: www.jimmymaks.com
Capacity: 140 + 40 SRO
Hours Mon-Wed: 4pm-1am, Th-Sat: 4pm-2am,
Sun: Closed
Music begins at 8pm
Kells
112 SW 2nd Ave
Portland, OR 97201
503.227.4057
LaurelThirst Public House
2958 NE Glisan
Portland OR 97232.
Phone: 503-232-1504 (not for booking calls)
Format: Acoustic Roots
Booking: Lewi Longmire
Email: Laurelthirstbookings@msn.com
Booking Phone: 503-236-2455
Web: http://mysite.verizon.net/res8u18i/laurelthirstpublichouse/
Capacity: 100
Matchbox Lounge
3203 SE Division
Portland, OR
503.234.7844
Website: www.matchboxlounge.com
http://www.myspace.com/matchboxlounge Format: All Music
Booking: Michael Huffman
Email: coralae@gmail.com
Capacity: 50
Equipment: PA
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: booking@mississippipizza.com
Web: www.mississippipizza.com
Capacity: 50-60
Equipment: PA
Mississippi Studios
3933 N Mississippi,
Portland, OR 97277
Box Office: tues-fri 2-6: 503-288-3895
Format: Singer songwriter
Booking Submissions:
Mississippi Studios
3939 N. Mississippi,
Portland, OR 97227
Booking: Caroline
Email: booking@mississippistudios.com
Manager: Jim Brunberg
Email: jim@mississippistudios.com
Web: www.mississippistudios.com
Capacity: 100
Equipment: PA
Mt. Tabor Legacy
4811 SE Hawthorne Blvd,
Portland, OR 97215
Phone: 503-232-0450
Format: Rock’n Roll Booking
Email: jetsetbooking@gmail.com
Web: www.mttaborlegacy.com
Capacity: 600
Ohm
31 NW 1st Ave.
Portland, OR 97209
Phone: 503-241-2916
Format: Blues, Jazz, Acoustic, Pop, Alternative
Booking Email: booking@ohmnightclubpdx.com
Email: info@ohmnightclubpdx.com
Club Rental: vip@ohmnightclubpdx.com
Web: www.ohmnightclubpdx.com
Capacity: 250
Hours: Tue-Sat: 9pm - 2am All events 21+
Office Hours: Mon, Wed, Fri 12:30pm-5pm
Produce Row Cafe
204 SE Oak St
Portland, OR 97214
503.232.8355
Website: wwwproducerowcafe.com
Format: All music
Booking email: mr.spock77@yahoo.com
Capacity: 30-120 depending on time of year
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)
Email: redroomportland@comcast.net
Capacity: 107
Ringler’s Pub
1332 W Burnside
Portland, OR 97209
503.225.0627
Website: www.mcmenamins.com
Email: ringlers@danceonair.com
Format: All Music and DJ’s
Capacity: 305
Equipment: PA, Lights
Rock’n Roll Pizza
11140 SE Powell Blvd.
Portland OR 97266
Phone: 503-760-7646
Format: Rock
Booking: Dave
Email: RockNRollPizzaBooking@yahoo.com
Web: www.rocknrollpizza.com
Capacity: 500+
All Ages area with full bar for those over 21
Tug Boat Brewery
711 SW Ankeny St.
Portland, OR 97205
Phone: 503-226-2508
Format: Jazz
Owners: Terry Nelson and Megan McEnroeNelson
Email: tugboatale@webtv.net
Web: www.d2m.com/Tugwebsite/ Capacity:
Roseland Grill
Located in the lower level of the
Roseland Theater
8 NW 6th Avenue
Portland, OR 97209
Phone: 503-224-2038
Format: All music
Booking: David Leiken
Email: dtl@doubletee.com
Web: www.doubletee.com
Capacity: 400
White Eagle
836 N. Russell St.
Portland, OR 97227
Phone: 503-282-6810
Format: Blues, Rock
Booking Email:
eaglemusic@mcmenamins.com
Web: www.mcmenamins.com/index.php?loc=55
Capacity:
Roseland Theater
8 NW 6th Avenue Portland, OR 97209
Phone: 503-224-2038
Format: All music
Web: www.doubletee.com
Capacity: 1400
Satyricon
125 NW 6th Ave
Portland, OR 97209
Phone: coming soon
Format: punk, hardcore, metal, indie music.
Booking Email: Satyriconpdx@aol.com
Web: http://beta.satyriconpdx.com
Capacity: 450
Someday Lounge
125 NW 5th Ave
Portland, OR 97209
503.248.1030
Format: All Music
Booking: bookings@somedaylounge.com
Lead Sound Person: Ryan Olson(Morphed Productions)ryan@morphedproductions.com
www.morphedproductions.com
Capacity:
Tonic Lounge
3100 NE Sandy Blvd
Portland, OR 97212
Phone: 503-238-0543
Format: Rock
Booking: Dave Gaysunas
Email: If you want to book a show send us an email
with a link to some music online to
tonicloungebooking@hotmail.com
Web: www.myspace.com/thetoniclounge
Capacity: 215
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
Email: tonystarlight@hotmail.com
Owner: Tony Starlight
Web: www.tonystarlight.com
Capacity: 75
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 seann@wonderballroom.com
Caroline Buchalter caroline@wonderballroom.com
Will Reischman will@wonderballroom.com
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
Email: pauly@onebadcat.com
Contact: Paul Lawrence
Momentum Studios
109 SE Salmon St. Ste C
Portland, OR 97214
Phone: 503.239.6983
Email: record@momentumstudios.com
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
Trails End Saloon
1320 Main St.
Oregon City, OR.
Phone: 503.656.3031
Format: Blues
Booking: Tom Snyder
Capacity: 118
Music: Wed-Sun.
www.buko.net
Booking: David MacKay
Format: Blues
Capacity: 40
Equipment: PA and lights

Buko mag V2-N2 web

Transcription

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