Buko mag v2-n5web

Transcription

Buko mag v2-n5web

Volume 2 Number 5
Trademarking
Band Names
GBU
The Dandy Warhols
Blitzen Trapper
Rose City Project
Sea Wolf and Okkervil River
Parachutes and Sigur Ros
Seattle’s Dammitt
OMHOF 2
My tyPod:
House Of Badger
Dykeritz
Lewi Longmire Band
Kurdt Vanderhoof
Metal Church
The Band
the saga continues
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Contents
Band Names: The Basic Steps
p4Trademarking
by Bart Day
Top selling 20 Portland Artists for Sept 2008
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Fender ’65 Deluxe Reverb Pedal
p7BossbyFDR-1
L. Belliagio
the Bad, and the Ugly
p8thebyGood,
SP Clarke
p14MybytyPod
Ty Hitzmann
Dammitt
p17Seattle’s
by Tod Dammitt
2
p20OMHOF
Photos by Buko
p22thebyBand
Mike D Light
p23Music Resource Guide
October/November 2008
• Established 2007 •
by Buko Publishing
Fearless Leader / Graphics: Buko
CFO: Jeannine Dawson
Media: Get Up Media
Photos: Buko • Jeanne Galarneau • Ty Hitzemann •
Writers: L. Belliagio • S.P. Clarke • Tod Dammitt • Bart Day
• Doug Dyer • Jeanne Galarneau •
Johnny Martin • Ty Hitzemann •Keith Robert Laurent
• Mike D. Light • Carl Tietze • Anne Steiner • Ximena Quiroz •
lake-enchantment.com
info@lake-enchantment.com
1. Blitzen Trapper - “Furr”
2. Shaky Hands - “Stand Ins”
3. Hornbuckle/Scroggins - “Sista”
4. Horse Feathers - “House with no Home”
5. Dandy Warhols - “Earth to Dandy Warhols”
6. Blind Pilot - “3 Rounds and a Sound”
7. Portland Cello Project - “Portland Cello Project”
8. Tom Grant - “Life is Good”
9. Starfucker - “Starfucker”
10. Crazy 8’s - “Big Live Nut Pack” (20th Anniversary)
11. Pink Martini - “Hey Eugene”
12. Various - “PDX POP NOW 2008”
13. Death Cab for Cutie - “Narrow Stairs”
14. Various - “KINK Lights Out 10”
15. M. Ward - “Transfiguration of Vincent”
16. She & Him - “Volume 1”
17. Pink Martini - “Sympathique”
18. Quarterflash - “Goodbye Uncle Jazz”
19. Derby - “Posters Fade”
20. Helio Sequence - “Keep Yours Eyes Ahead”
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Buko magazine Vol.2 No.5 - 3
I once told this writer a story about how I met the
guys in an elevator and found out that we all had the
same last name, so we decided to form a band.
Joey Ramone, The Ramones
F
inding the right band name can be a tricky process. You not
only need to find a name that fits the band well, but also a
name that is not already being used by another band.
A band’s name will often become its most valuable single asset,
application forms; and (4) Monitor the entertainment industry to be sure that
no one else starts using the same name.
There are various problems that can arise when a band fails to take the necessary legal precautions. The most common problem is adopting a band name
that is already being used by another band or entertainment company. A close
second would be situations in which one or more members of the band leave the
band, or the group splits up, and there is a dispute about who has the right to use
the band name.
SOME TRADEMARK BASICS
It’s important to first remember that the legal protection of groups’ names is
available through federal and state trademark laws, and not as a result of copyright
law. In other words, a band’s name is legally considered a kind of trademark.
Often the terms “trademark” and “copyright” are used interchangeably, however
they have completely different meanings. Trademark law protects names and logos,
including the names and logos of bands. Copyright law, on the other hand, protects
such things as artwork and songs. So when we are talking about protecting a group’s
name, we are talking trademark law.
by Bart Day
Entertainment Attorney
since a successful band’s name will, in itself, sell records and draw live
audiences. Unfortunately, however, many bands fail to take even the most
basic and inexpensive steps to legally protect their band’s name, and as
a result jeopardize their rights to use the name and to keep other bands
from using the same name.
There are several steps necessary to assure the maximum possible
legal protection for a band’s name. Some of these steps -- such as filing
a federal trademark application -- can be pricey, and may not be feasible
right away due to a band’s limited finances. On the other hand, there are
some other steps which are relatively inexpensive, and sometimes even
free, but which will help a band avoid unpleasant legal repercussions
in the future.
For example, it is very inexpensive to file a State trademark application (for example, with the State of Oregon). (The filing fee for a State of Oregon
trademark application is $20, while the filing fee for a federal trademark application
is $335). Though a State trademark registration offers far fewer benefits than a
“
Here’s another important fact to remember about getting legal protection
of bands’ names: Legal rights to a band’s name, cannot, generally speaking, be
obtained merely by sending in a trademark application form. Generally speaking,
legal rights to a band name can be created only by active exclusive use of the name.
There is one exception to this general rule, though. In certain circumstances, a
federal trademark application can be filed even before the name is used, due to
major changes in the federal trademark statute back in 1989. This is called an
“ITU” (intent to use) application.
In any event, before a band starts actually using a particular band name (or
files any trademark applications), it should make a serious effort to determine
whether the same or a very similar name is already being used by another band.
Otherwise, there is the risk that the band could spend a lot of time and energy
developing public recognition of the band’s name, only to find that it has no legal
right to use the name. The band may also unexpectedly find itself involved in a
very expensive lawsuit.
Now, back to the issue of what steps are necessary to legally protect a band
name.
A prospective band name should of course be unique, not only for artistic reasons,
but also for legal reasons as well. It is much easier to get legal protection for unique names
like “Jimmy Eat World” than for more generic, descriptive names (like ‘The Band’).
federal registration, a State trademark registration does offer some benefits, and
also will get your band into the various national trademark databases that are
used for trademark searching and may, as a result, discourage another band in
the future from adopting your band’s name as their own.
Generally speaking, the following steps must be taken in order to seek the
maximum possible legal protection of a band’s name: (1) When choosing the
name, try to be sure that no one else is already using the same name; (2) Once
a suitable name is selected, then have a written agreement among the various
members of the band as to future legal rights to the name if the band breaks up,
or if some of the members leave the band; (3) File the appropriate trademark
4 - Buko magazine Vol.2 No.5
”
CHOOSING A NAME
A prospective band name should of course be unique, not only for artistic
reasons, but also for legal reasons as well. It is much easier to get legal protection
for unique names like “Jimmy Eat World” than for more generic, descriptive
names (like “The Band”).
Another consideration is that sometimes you cannot even use your own
personal name as part of the band’s name, since someone else with the same name
may already have exclusive trademark rights to the name. If, for example, your
legal name is James Brown and you include that name in your band’s name, you
can be certain that you will hear from the attorney for the James Brown as soon
as you reach any degree of recognition in the music business.
Also, as already mentioned above, it is EXTREMELY important to avoid
band names that are identical to OR confusingly similar to the names of alreadyexisting bands. Another band’s name does not need to be identical to your desired
name for it to cause you major trademark problems. As long as there is a likelihood
of confusion among the public between the two names, you have a big problem.
Therefore, it doesn’t work to just change the spelling of the name or to make only
minor changes in the name.
Therefore, once you have decided on a name you like, you must then
determine whether the name (or any very similar name) is already being used by
someone else. For example, you should do an intensive Internet search. It’s also
a good idea to check record store catalogues (Phonolog, etc.) and music business
directories (like the Billboard directories and Pollstar). You should also do a
search on the U.S. Trademark Office’s website (www.uspto.gov), but that database
only contains trademarks which have been federally registered, and so it does not
contain all the info you really need.
If the name still seems to be available after you have done your research, you
should consider, as a final step, having a computerized trademark search done
by a trademark research company, so that you can find out whether the name is
already being used by someone else. The cost for a preliminary trademark search
runs approximately $100, and a comprehensive search currently costs around
$400-500. This is often money well spent. The advantage of obtaining a trademark
search report from one of these companies is that they maintain massive databases
containing, for example, all business license records of all the States.
By the same token, you should also be aware of a serious problem area in
the area of trademark researching: the problem of “below the radar screen” bands.
This problem arises from the fact that there are thousands of local bands who have
never filed a trademark application, and who have never released a record through
an established distributor, and who have never done anything “official,” like taking
out a business license. As a result, these bands will typically not show up on any
trademark search reports, yet they very easily may have established trademark
rights to their band name, at least in their own local or regional area. Other than
doing as much research as possible, there is really no way to avoid this problem;
it is one of several risks inherent in the trademark process.
TRADEMARK REGISTRATION
A trademark application can be filed with the federal government if the name
is being used in interstate or foreign commerce. Under certain circumstances, a
federal trademark application can also be filed even before the name is used, due
to major changes in the federal trademark statute back in 1989. This is called an
“ITU” (intent to use) application.
In addition, trademark applications can be filed in any State where the
band is doing business. If a federal registration has already been obtained, it is
generally not necessary to also obtain State registrations, though it is sometimes
a good idea to do so.
As I mentioned above, it is not absolutely necessary that a trademark application be filed in order to have legal rights to a name. Nonetheless, there are many
substantial legal advantages in having a trademark registered, particularly if it is
a federal registration. As a general rule, any band desiring to protect its name on
a national (or even regional) level should file a federal trademark application as
soon as it is financially feasible to do so. This is because the federal trademark
statute says that your filing of a federal trademark application is legally considered
to give national public notice of your use of the name to anyone not yet using the
name. (This is referred to as the “constructive notice” provision of the federal
trademark statute.) In some situations, your federal trademark registration may
enable you to defeat the future trademark claims of another band using the same
name or a very similar name.
In short, the filing of the federal application at the earliest possible time can
give you trademark rights which you would not have had otherwise (assuming, of
course, that you are issued a federal trademark registration based on your application.) In a number of instances in which a band has obtained a federal trademark
registration early in its career and then later confronted a trademark dispute over
the band name, the band’s early federal trademark registration enabled the band
to keep the band name which it otherwise would have lost.
One final comment about the federal trademark application process: The
Trademark Office’s rules are strict, technical, and unforgiving, and you need to
be sure you are dotting every “i” and crossing every “t”. Otherwise, you can find
that you have either damaged your trademark rights and/or are forfeiting your
application fee without any right to a refund.
THE DIFFERENCE BETWEEN TRADEMARKS
AND “ASSUMED BUSINESS NAMES”
A trademark is a name or logo that the public, or some significant portion of
the public, knows your band by. On the other hand, an “assumed business name”
(also known as a “dba”) is the name you do business by with other businesses,
whether the public recognizes that name or not. In other words, a trademark is
the name that the public knows you by, and an “assumed business name” is the
name that other businesses know you by, akin to a company name.
With some bands, the band name and the “assumed business name” are the
same name. With other bands, they may have a company name that is different
than the band name. In either case, though, both a trademark application and
an “assumed business name” application should be filed. For one thing, banks
require you to register your “assumed business name” with the State before they
will open a bank account for your band, unless the band is set up as a separate
legal entity (for example, as a corporation or a LLC (limited liability company).
Trademarks and “assumed business names” can each be registered with
the Oregon state government in Salem (in addition to the right to register your
trademark with the federal trademark office in Washington, D.C.).
The only reason that I mention this distinction between trademarks and
“assumed business names” here is that sometimes someone will file an “assumed
business name” application with the Oregon state government and think that they
are filing a trademark application, or vice-versa. Therefore it’s important to keep
this distinction in mind.
AGREEMENT AMONG BAND MEMBERS
It is CRUCIAL that you have a written agreement among the band members
regarding who can use the name if the band breaks up, or if some of the members
leave the band. Experienced entertainment attorneys routinely include such
provisions whenever a written partnership agreement or incorporation or limited
liability company (LLC) papers are drawn up for a band (most often, these days,
it’s an LLC agreement). Or, alternatively, and less preferably, there can be an
agreement drawn up that pertains only to the rights of the band members in the
band name and that doesn’t cover the other aspects of the band’s business (such
as, for example, how the band’s income and expenses will be handled).
Incidentally, it is extremely important that the band agreement relating to
trademark rights be drafted very carefully, because a poorly drafted provision can
easily create many more problems than it solves.
FURTHER STEPS TO PROTECT THE NAME
Whenever you use your band’s name -- for example, on posters and record
packaging -- you should give notice of your trademark rights. If you have obtained
a federal trademark registration, there should be the symbol ® (an encircled R)
next to the band’s name in a conspicuous place somewhere on the packaging and
in print ads. If, on the other hand, a federal registration has not been obtained,
you cannot legally use the symbol ®, but you can use the symbol ™. For example,
Nickelback® or The Jones ™.
It will also be necessary to renew your trademark registrations after a certain
period of time -- for example, after ten years in connection with federal trademark
registrations, and after five years for trademark registrations with the State of
Oregon. In regards to federal trademark registrations, there are also some other
documents which must be filed from time to time, in order to keep the federal
trademark registration in effect.
Finally, you should take immediate legal action if someone else starts using
your band’s name. Otherwise, you run the risk of losing all legal rights to the name.
Names like “aspirin” and “thermos” were once legally protected trademarks, but
were later lost because the trademark owners of those names failed to stop other
companies from using those same names.
In short, the following steps should be considered whenever a band is trying
to protect its band name as much as possible: (1) First, try to be sure no one else is
using the desired name: (2) Have a written agreement among the band members
as to the members’ rights to future use of the name; (3) Obtain federal and state
trademark registrations, if possible; (4) Be sure that your trademark registrations
are renewed when necessary, and that other necessary documents are filed in a
timely manner, and take immediate legal action if someone else starts using your
band’s name as their own.
Note: Bart Day is an entertainment attorney who divides his time between Los
Angeles and Portland, Oregon. He has represented numerous nationally known recording artists, record companies, music publishers, computer game companies, managers,
and producers, and has served as Vice-President of Legal and Business Affairs for a
Los Angeles entertainment company
Bart is the co-author with Chris Knab of the book “Music is Your Business:
The Musician’s FourFront Strategy for Success,” published in 2007. He is also the coauthor 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 internationally by Prentice Hall
Publishing (New York and currently in its 4th edition).
From 1998 to 2002, Bart 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.
Bartley F. Day
The Entertainment Law Group
1001 S.W. Fifth Avenue, Suite 1100
Portland, OR 97204 USA
bart@entertainmentlawwest.com
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by L. Belliagio
T
his is the second in the new Legend Series from Boss, the FDR-1
is based on the Fender 1965-era Deluxe Reverb. The Boss Fender
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concentric pot, Treble, Bass, then Vibrato and Reverb on another concentric pot.
The Vibrato control is for depth only. It adds some versatility to the pedal, but
the programming is cumbersome. You’re talking about several seconds of playing
with the footswitch to get your speed set. For stage use, I want to be able to do as
much with only one tap of my foot as possible. I think I would have put a vibrato
speed knob on another pot at the top of the unit with the others.
The Fender Deluxe Reverb and Twin amps are the king for clean tones,
but their distorted tones just flat out sucks. The FDR- 1 reverb is a pretty good
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by SP Clarke
Earth To The Dandy Warhols - The Dandy Warhols
Beat The World Records
A
“...the Dandy’s have soldiered on, without once betraying
a crack in their inscrutable façade- the true definition of
cool- perhaps the coolest bunch in all of pop music.”
photo by Ray Gordon
s they move into their fourteenth year as a band (that’s hard to
believe, I know), the Dandy Warhols still confuse and confound
their listening public- who do not understand the constructive deconstruction that is at the heart of this band. For starters, look to their namesake:
Andy Warhol. All of Andy Warhol’s art was self-consciously idiosyncratic,
hip, snide and most of all: informed with a dexterously droll solipsistic
cynicism. That is an apt description for the Dandy Warhols. They are
hipper than you or I will ever be and that should be just fine. They got
there first, after all.
Keeping in mind Andy Warhol’s career, this album would be the Dandy
Warhols’ musical equivalent to their guru’s Campbell’s Soup Can series of
paintings. With a few notable exceptions all of the thirteen tracks (hint: the
number 13 factors heavily into much of the Dandy’s ouevre) found here are
borne out of the same tongue-in-cheek lyrical stance (in that there is actually
no soup in this particular can), accompanying mid-tempo instrumental tracks,
whose main difference, one from another, is primarily superficial (not that
superficiality ever stood in the way of a good rock album).
Superficiality is one of the tenets upon which the Dandy’s hang their
knickers. Add a healthy dose of sarcasm and a sense of “what the fuck,” and
you pretty much have them in a nutshell. The Dandy Warhols don’t take
themselves too seriously and neither should you.
In some ways, this, their sixth real release, in all that time, is a culmination of all that has gone before. They cover all the musical ground upon
which they have heretofore trod; which is a greater distance than one might
initially conceive. Their influences remain in place: Lou Reed and the Velvet
Underground, the Stones, Bowie and the Beatles. A touch of the Cars. In this
rev we can add the occasional dash of Talking Heads and a soupcon of Love
and Rockets and a pinch of the Beach Boys. For kicks, one would suppose.
After finally ditching their contract with Capitol Records, following their
previous release, 2005’s “Odditorium,” like many 21st Century bands (most
notably Radiohead), the Dandy’s determined they were better off in the music
“business” recording and releasing their music on their own. The band first
released this new album (as Radiohead released In Rainbows last year) in May
with an online digital parlay that ostensibly worked well for them- in that they
weren’t having to give all their money to a major label which couldn’t care
less about them, other than to make demands for more and better “product,”
suitable to corporate marketing schemes.
When, after the release of 2003’s Welcome To The Monkey House,
the band managed to purchase for themselves their own production studios
(appropriately named Odditorium) here in Portland, the die was cast. The
means for their escape from the manacles of corporate stricture were in place
and the Dandy Warhols have never really been the same since.
Courtney Taylor (or Taylor-Taylor, it depends upon which hotel he is
checking into) did not walk into stardom. The guy paid his dues. I first met
him as an affable young fellow, in the late 80’s when he manned the side door
at Key Largo. After that, I saw him act as drummer (and a pretty good one, at
that) for an early 90’s Portland glam band, The Beauty Stab.
Then, with the break up of that band, he disappeared from the scene
for a while, emerging five years later, in 1995, with the Dandy Warhols and
their first album, Dandy’s Rule OK! for Tim/Kerr Records- with Tony Lash
producing-and a certifiable hit in the song “Lou Weed…” They were soon
signed to Capitol Records and there their industry troubles began. Not that
they weren’t successful, they just often ran afoul of their label- for various
reasons- that only a CEO could understand. Drummer Eric Hedford was
the only member to bail out from the monkey house, leaving in 1998. He
was replaced by Taylor’s cousin, Brent DeBoer, who has manned the drum
throne ever since.
Along with guitarist Peter Holmstrom and keyboardist Zia McCabe,
Courtney and the Dandy’s have soldiered on, without once betraying a crack
in their inscrutable façade- the true definition of cool- perhaps the coolest
bunch in all of pop music. Their tunes are featured in films, television series
and commercials. they’re everywhere, whether you know it or not.
Earth To Dandy Warhols is not easily penetrated. Thick layers of sound
obfuscate Courtney’s vocals- which, given the lyrical content of most of the
songs, is not really a problem. Courtney sounds good- and varies his delivery
from song to song. The album kicks off with “World The People Together
(Come On) a zesty number, with a preponderance of McCabe’s thick keyboard
washes and tubular bells, abetted by drum machine hand claps, colored by
Holmstrom’s psychedelic guitar, over which Courtney wails with a feminine
howl. Catchy. Accessible.
“Mission Control” sounds like Daniel Ash of Love and Rockets vocalizing what could be a 21st century update of the Fabulous Poodles’ song
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from the early ‘80s, “Video Killed The Radio Star,” with Cars-like synth
lines and beefy guitar lines. Short (at just over two minutes), but sweet.
Holmstom’s apparently backward guitar solo near the end is especially
appealing.
With a profound shout out to the Rolling Stones of the late ‘70s
(think “Miss You” and “Shattered” from the Some Girls era- replete with
harmony vocals a full octave above the lead), “Welcome To The Third
World” also works in some Talking Heads disco funk with Holmstom’s
guitar, with Courtney occasionally launching into a David Byrne like
moan over a lyric about “love” lost and founf in the dance club: “Hey,
boy/you know, I don’t see a dog like you/hang around in a club like this/
so much anymore/Guess you just love the ladies/Why don’t you/walk
your ass on up, say/‘Hey girl! You dance pretty good/for an almost white
girl/and, mm-mm, your lipstick sure do/Match my wallet’ (Hey!).” Out
Jaggering Jagger, as it were.
“Wasp In The Lotus” is vintage Dandy’s: twisted psychedelia with
impenetrable lyrics, but for a part of the catchy chorus: “You gotta wake
up and notice/wasp in the lotus.” Holmstom’s throaty guitar setting is
especially pertinent.
The elegaic “And Then I dreamt Of Yes,” seems a little devoid of
the usual Dandy cynicism, with a more heartfelt lyric than is customary.
“Well I’ve been down now/Like I never got started/Guess you want your
world just a certain way/And I can tell you this/I’ve been outsmarted…”
McCabe’s ethereal melotron-like synth and Homstrom’s buzzing guitar
add to the contemplative mood.
And “Talk Radio” sounds like Men Without Hats’ “Safety Dance”
from the ‘80s over the chord progression of Status Quo’s cult hit “Pictures
of Matchstick Men” from the ‘60s- although a choirboy middle section
is affecting, as is Holmstrom’s deconstructed guitar solo which follows.
A real change of pace, with added star power, is “Love Song.” With
Mike Campbell of Tom Petty and the Heartbreakers adding banjo and
Mark Knopfler of Dire Straits adding characteristic dobra guitar over
Holmstom’s jangling electric 12-string guitar, this track stands out as
this album’s non sequitur- although a pleasurable detour, to be sure.
Meanwhile, “Now You Love Me,” is a bit of a typical throwaway Dandy’s
number. Pleasant, and well-wrought, but a bit fluffy.
Layers of drum machine-like sounds set up the tribal “Mis Amigos,”
a happy-go-lucky tune that has to be something of a Dandy’s anthem- an
ode to good times and comraderie. For some reason, the Byrds’ “So You
Want To Be A Rock Star” comes to mind, when the trumpet solo starts up.
“Last Of The Outlaw Truckers” features again a new aspect of Courtney’s vocal approach- a low, croaky mutter, that works perfectly with the
amphetamine sheen of the arrangement- a 21st century update of Dave
Dudley’s “Six Days On The Road.” The ballad (the first half anyway)
“Beast Of All Saints” sounds vaguely like a song Elliot Smith might
have sung: somber and ethereally depressed, until it opens up midway
through. “Valerie Yum” with a feel similar to Bowie’s “Jean Genie,“ is an
ode to either Valerian or Valium, although it really doesn’t matter, as the
out come is much the same. Peppy, but mostly meaningless.
The final track is the nearly fifteen minute long tone poem “Musee
D’Nougat,” which is bound to have many listeners tearing their ear
lobes off, but stands as a piece of musique concrete in a league with
John Lennon (“Revolution #9)and John Cage and other minimalist
composers. An amorphous string theme is repeated endlessly, with slight
variations and mutations. It’s not as bad as you might think and it’s great
if you’re really stoned out.
The Dandy Warhols are never going to be the band you want them
to be. And they will always be the band that they want to be. Capitol
Records couldn’t push them around and their fan base won’t be able to
either. So, adapt, migrate or become extinct. Whatever you choose, The
Dandys will be going in their own odd direction- laughing all the way
B
Furr - Blitzen Trapper
Sub Pop
“The elements of the true Blitzen
Trapper sound are still in place,
with raucous guitars and quirky
keyboards mixed into Eric Earley’s
earthy songs.”
photo by Buko
litzen Trapper charged onto the scene last year with their eclectic
DIY, self-released masterpiece Wild Mountain Nation- their third
album on their own Lidkercow Records label. Upon the success of last year’s
model, however, the Trapper boys signed with major indie label Sub Pop and
went nuts on the recording budget.
They recorded this project in the same converted local telegraph station
as the others, but it’s apparent that more time was taken with this outing- as
it is not nearly as loose around the edges as its predecessors. Depending on
what you like about Blitzen Trapper- this information will either excite you
or appall you.
The elements of the true Blitzen Trapper sound are still in place, with
raucous guitars and quirky keyboards mixed into Eric Earley’s earthy songs.
However there are not as many uptempo rockers as on previous outings- with
more reliance on Earley’s more plaintively contemplative folk-flavored songs.
Here again, this may or may not sit well with fans, depending on how one feels
about Earley’s more reflective material, I would suppose.
I have been told (although I am unable to verify at this time) that Furr
is a concept album about a boy who discovers that he is a wolf. Not having
been able to audition the album more than three or four times, that theme is
impossible to ascertain- but it is entirely possible. The album kicks off with
“Sleepytime in the Western World,” a cheery number, infused with close
vocal harmonies and an organ part stolen directly from Al Kooper in Dylan’s
“Positively 4th Street. A hot guitar solo in the middle helps the arrangement,
as does a Dylanesque turn following the solo. Clearly the same band as that
on Wild Mountain Nation.
“Gold For Bread” is cut from the same cloth, up tempo- with memorable
George Harrison-esque slide guitar fills by Eric Menteer and klutzy keyboard
sounds bubbbling up around the edges. Brian Koch’s off-kilter syncopated
drums are clearly in the fore here. The title track is a sprightly capoed-acoustic
guitar number, which is definitely about a boy who becomes a wolf, whether
the rest of the album conforms to that, or not. Earley’s Dylan-like harp is
backed simply by a kick drum and tambourine and random keyboard effects.
Pleasant.
The following number, “God & Suicide” sort of mingles all the previous
songs on the album thus far- creating a sort of Neo-Grateful Dead sound:
rooted in Workingman’s Dead, with 21st century accoutrements. Very nice.
“Fire & Fast Bullets” is possibly the closest to the sound the band established
on WMN. Cultily catchy and idiosyncratically memorable. ”Saturday Nite” is a
chipper little ditty, mostly acoustic in character, with snappy snare accompaniment, plunking piano and just enough weirdness to make it Blitzen trapper.
Sounding as if out in Tom Petty meets Bob Dylan territory, “Black River
Killer,” is folky soulful, with an unique little keyboard filigree, melting over the
dark lyrical imagery. “Not Your Lover” is a simple piano number- straight out
of Neil Young’s After The Gold Rush (think the title track from that albumminus the spaceships and silver seeds).
Probably the biggest musical departure on the album is the blues inflected
screamer “Love U”- which could be a sequel to the Beatles’ “I Want You
(She’s So Heavy) with Earley’s throat-grating vocal in total Lennon mode.
Another Dead-like (think “Casey Jones” updated forty years on) piece, “War
On Machines,” has a loping quality that is instantly recognizable as Blitzen
Trapper. More produced than you might expect from these fellas- it’s still an
acoustic laced rocker with a goodtime vibe.
Another country-twinged ballad- simple steel-guitar mournfully wails
behind Earley’s easygoing vocal on “Stolen Shoes & a Rifle“- with close
vocal harmonies. Koch swings in on the second verse, adding propulsion,
while Drew Laughery’s piano adds backbone. “Echo/Always On/EZ Con”
is elegiac and orchestral and a real departure for the Trapper lads. Not bad,
just somewhat disconcerting. The first third of the song stops abruptly- as
if someone grabbed the tape reel (probably not a tape reel- but that’s what
it sounds like)- before evolving into a space age prog-rockish jam between
melodica and organ. Odd.
electronic repair and speaker repair
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503-238-1955
www.inner-sound.com
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performance & events
photography
503.233.7132
tzmonn@yahoo.com
“Studio or live, musicians are my specialty.”
Live Reviews (Contrasts and Comparisons)
Sea Wolf and Okkervil River- September 19, 2008 at the Crystal and
Parachutes and Sigur Ros- October 6, at the Arlene Schnitzer Concert Hall
ne can always tell how secure a band feels about themselves and
their music by the way they treat their opening acts. Oh, there are
always those situations where this part of the sound board or those stage lights
are off limits to the openers. That is just part of the business. But, on occasion,
the headliner will purposely sabotage the work of the openers, hardly allowing
them to perform, let alone to sound decent.
Such was the case for poor Sea Wolf in opening for the overrated Okkervil
River at the Crystal. Granted, the Crystal is no paradise when it comes to
sound. The room was designed for the pre-microphone, big band days- the
acoustics reverberant and the high ceilings certain doom for a sound engineer.
Still, that is what sound checks are for. And one would think (or hope
anyway) that if a competent sound engineer could get a band sounding
decent in an empty room during the sound check, then the sound should be
acceptable, come showtime when the room is full of sound absorbing bodies.
Now, in the case of this particular gig, there are no variables. The same
sound engineer manned the board for both bands. Sea Wolf, could hardly play.
The kick drum drowned out the muddy vocals. The guitars could not be heard
either. This was a pity, because I and several others were actually there to see
and hear Sea Wolf. Saw them we did, but hear them we didn‘t, as the band
O
Ro
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struggled to even complete their set, the sound was so terrible. On several
occasions they elected to start their songs over, in vain hope that somehow
the sound might improve (obviously their stage monitors sounded no better
than the mains). Sea Wolf left the stage frustrated and obviously defeated.
A brief twenty minute interval later, Okerrvil River took the stage- and
suddenly all the sound problems were overcome. They sounded pristine and
clean and resonant. Hmmm… They were also annoying. Lead vocalist Will
Sheff is an acquired taste. He is obviously high on himself- his ego dripping
all over the stage. The band are competent, but nothing special. And I had a
bad taste in my mouth. It’s not right to do to a band what Okkervil River did
to Sea Wolf. Whether or not Sea Wolf is the better band, they didn’t deserve
to be treated like lawn jockeys and the Okkervil River sound man should be
ashamed of himself- as should the band he so obviously represented. That
was sad.
Conversely, the Icelandic band Parachutes were given every opportunity
to prove themselves opening for Sigur Ros in a packed house at the Schnitz.
They were similar enough and good enough that some critics thought they
WERE Sigur Ros. Check out this boneheaded review:
http://lineout.thestranger.com/2008/10/sigur_ross_attractive_nothingness.
To be fair, Parachutes lead singer vocalizes in somewhat the same register
as Sigur Ros’ Jón Þór “Jonsi” Birgisson, but still: the guy “left at intermission.”
What intermission? What band has an intermission? Obviously Parachutes
share some sonic similarities, with a mix of bell-like keys and strings (as the
band Amiina has provided in the past for Sigur Ros).
And, as opposed to the lousy sound at the Crystal, the sound at the
Schnitz was absolutely majestic. The symphonic qualities of both bands were
well served by the acoustics at the hall. This time around, Sigur Ros did not
utilize any backing musicians, but played as a versatile four-piece, with Birgisson typically sawing away on his guitar with a violin bow, creating unique palisades of otherworldly sound. Bassist Georg Holm also contributed a stalwart
performance, as did Kjartan Sveinsson on keys and occasional backing guitar,
while Orri Páll Dýrason proved resourceful in sensitive support on drums.
Drawing primarily from three of their most recent albums: Ágætis Byrjun
(2001), Takk... (2005) and Med Sud I Eyrum Vid Spilum Endalaust (which
roughly translates to:”With the buzz in our ears, we play endlessly), the band
played for an hour and forty five minutes, an hypnotic set which enthralled
a captivated crowd.
Of special note were the hypnotic opening number “Svefn-g-Englar”
where in Jonsi, with his high castratti/choirboy voice, sustained a note for
much longer than any human should. Also spectacular was “Gobbledigook”
a sprightly 6/8 piece (from Med Sud…) where Jonsi convinced the audience
to clap along, while members of Parachutes took the stage to provide resounding folk drum rhythms as tumultuous butterflies of confetti were blown out
into the crowd (they did not all land for many minutes)- which ended the set.
The conclusion of the encore was the symphonic “Popplagið,” transcendent song number 8 from the 2002 album called ( ) (not a typo), which evoked
powerful emotion from the musicians and the audience as well.
The Parachutes/Sigur Ros concert was testament to two bands intent on
providing the audience with a full night’s worth of sound. No one attending
that show was disappointed with any aspect of those performances (except,
perhaps, critic David Schmader). The show was designed to build to a gradual
crescendo and it did so: sonically, emotionally and literally.
Would that Okkervil River had confidence (and balls) enough to provide
Sea Wolf with the same superior attention to sonic detail that Parachutes
received from Sigur Ros. Perhaps the former concert wouldn’t have seemed
like an irritating waste of time and money. The latter was a piece of magic that
will not soon be forgotten.
e cloc
th
Rose City Project - Various Artists
Rose City Music Foundation
ere is a worthwhile endeavor, incorporating the efforts of some
of Portland’s best known Blues and R&B players, coupled with
several talented newcomers. But it is the aim of this project which makes it
utterly unique and noble in its intent.
Cliff Castle was one of the founders of the Audix Corporation. Established in 1984, in Redwood City, California- Audix dedicated themselves to
creating world class microphones (as well a some other accessories). Moving
to Wilsonville in 1991, Audix created their own manufacturing facility, which
gave them complete control over the product they sell.
Always a musician himself around the Bay area, Castle’s influences
have always been in the Blues, R&B, Funk realm. Through Audix, Castle has
established a strong relationship with numerous National artists, including
Alannis Morrisette, Ani Di Franco, Willie Nelson and Travis Barker- to name
but a few. But Castle has also has developed an artist program that should be
the envy of the music industry.
And that was how the Rose City Music Foundation was founded. With
the desire to give back the Portland area music industry- Castle conceived of
a program whereby he (along with all the other musicians involved) could
benefit music education programs throughout the city- providing musical
instruments for school programs, as well as scholarships for deserving students. Cliff, along with his musical director Gene Hauck, recruited the talent
and all played a part in creating arrangements around Castle’s lyrics to create
eleven indelible songs with a decided Oregon flavor.
Some of the better-known musicians contributing their serves include
guitarists Jay “Bird” Koder and Eddie Martinez, sax men Patrick Lamb and
Renato Caranto, vocalist Liv Warfield, gospel greats, the Brown sisters singing
backup, noted keyboardist George Mitchell and drummer Reinhardt Melz,
to name but a few. Hauck played bass on most of the tracks and engineer
Eric Johnson added electric or acoustic guitar to almost all of the songs, as
well. Castle played acoustic guitar and sang on a couple of songs too. Hauck
played bass on most of the cuts and was the lead vocalist on most of them.
“Rose City” leads off the session, with a scorching vocal by Hauck, the
Brown Sisters backing, Lamb and trumpeter Dave Mills on the horns, Koder
and Johnson on guitars and Melz on drums. “Rose City/make my home in
Portland/Rose City’s got the beat/Rose City/make my home in Portland/A
city by any other name would not be as sweet.”
Warfield steps to the mic on “Not A Day Goes By,” her smooth, buttery
voice melting all over the crisp production. Castle takes the lead vocal on “Like
You,” acquitting himself with soulful grace. The instrumental, “Black Cloud”
offers Caranto room to stretch out. Castle and Warfield share the vocal duties
on the seductive “Talk To Me.” “Rapozo” is a touching number dedicated
to artist Warren Rapozo, who died last year. Hauck and the Brown Sisters
create a beautiful vocal milieu, while, Lamb adds tasty sax accompaniment.
Warfield and Hauck execute intricate call and response vocals on “Gossip
Love,” with Lamb again adding a slipper sax solo. Warfield solos vocally on the
vocal to “Get Through This,” a folk infused number, distantly related to the
Beatles’ “Blackbird,” with Martinez adding hot guitar licks in the turns. And
“Her Other Life” concludes the album where it began, with Hauck bringing to
mind Curtis Salgado on vocals, while Mitchell spins a web on the Hammond
organ and Koder adds the sterling funk on guitar.
This album shouldn’t be hard to find: there is a counter display in every
Fred Meyer music department, as well as at Everyday Music, Made in Oregon
and at Music Millennium (whose Burnside Distribution is handling the
local distribution). Castle saw the project as a fine collaborative effort. “As
a songwriter, it opened up my eyes; to get out of the box and look at things
differently.”
There are already other projects in the works. Castle would like to open
the doors at Audix for school ensembles and bands. He has found that many
kids love the recording process and become enthusiastic about the procedure.
He is also looking for support from the industry to expand the program
nationally- if it works. In addition, Castle is considering another benefit
project where he will ask for bands to contribute their own individual tracks
to a compilation recording.
The cause is a good one. The Audix mics and performance studios create
a pristine sound. And the players are cream of Portland’s crop. Here is a fine
album that works for all the right reasons. All the net proceeds will will be
donated. And the project has even won the approval of the City of Portland.
It doesn’t get any better than that.
d
Finally “Lady On The Water” is a gentle love song with dallying finger
picking on acoustic guitars and flute-like shadows in the background. Think
of Bob Dylan fronting Jethro Tull (during their acoustic period). Strange,
but not bad.
Fans resistant to change will be somewhat upset with Furr. It sounds
like Blitzen Trapper all right, but here the band sounds serious (in a musical
sense), which was hardly the case heretofore. Their madcap qualities are kept
to a minimum. This is not to say that the material is without appeal, because
the band’s customary eccentricity is still highly evident- but the rough edges
have been polished somewhat- and some people are going to feel that the
band has sold out because they have decided to become more precise and
deliberate. But in most quarters, this album will be seen as the band growing
and taking themselves seriously as professional musicians. And the transformation will be welcomed.
Studios
l
a
s
r
a
e
h
e
R
ce, Portland
rd Pla
2329 NW 23
rockaroundtheclockpdx.com
rockaroundtheclockpdx@gmail.com
Musicians Union
www.afm99.org
Artistry Advocacy Unity
Jazz,
Blues
& NPR News
stream it live at
www.kmhd.fm
KMHD Development-503 491-7271
by Ty Hitzmann
House Of Badger:
Death Birds
Risen Phoenix Records
riginality. Instrument command. Song-writing ability.
Primal prurpose. Add a heavy dose of
spiritual delving in angst worthy of Schopenhaur’s existential realm, and you’ve just
dialed into the perfect ingredients for the perfect cerebral listening experience. And it is right
here with this debut release. Yet another testament
that Portland is a veritable showcase for talent.
I loath to hear people rave on about music
by artists for continual mediocre efforts. Even less
funny is they often get famous for it. Unfortunately
american society still defines a “hit” as a commercially viable 3-4 minute song, while we continue
to marginalize astounding musical feats and allow
them to be locally shelved. It takes time to make
a great piece of music, and the quality and weight
from a band of this caliber should be experienced
right up close and personal. The talent ratio is glaringly apparent even to the slightly steeped listener.
Amanda Kelly writes with an indelible conviction
from her muse- It is refreshing to listen to her deliver
with such a keen and graceful brevity. It may also come
from her educational background in music. “I studied
jazz in music school, but most of what I’ve learned I
have studied on my own or learned from great players
including latin jazz, arabic, folk and blues, alternate tunings and heavy metal”.
Besides playing and teaching guitar, Kelly also teaches voice, mandolin and bass
guitar and keyboards.
Not a ‘professional sounding’ voice you say? The stylizing of purpose and
emotion is never underestimated in this reporter’s corner...by the grace of the
songbird , so flies the crow. Kelly’s purpose in delivering a message is a quiet
and deafening beauty opposite the heavy of the Guitars, synth and occasional
indian instrumentation. Amanda has a minimalist approach which carries both
a philosophical as well as primal edge that actually means something. Let me tell
you, this ENTIRE CD seethes with talent, song-writing skill, and emotive quality,
and the idea of any searchingly respective music fan missing this is a bitter shame.
Like Zeppelin? Dig Link Wray? How about Patti Smith, Sinead O’Connor,
and Jim Morrison? Factor in Ravi Shankar, Jonas Hellborg and Dead Can Dance,
and you might be getting it. I’m thinking about the kids Amanda teaches music
O
to and wondering if she introduces her material to them. I think they’d teeter
somewhere between a cataleptic hover and School of Rock windmilling.
Vultures starts the seven song compilation, definitely setting the tone for the
rest of the disc. It is mesmerizing, expansive and eerily Floydian. The melody of
the chorus lofty and angelic, poising a simple and transcendental delivery.
The keyboard lines trickle like water running over a smooth
stone. Kelly’s lyrics are equally matched by the instrumental
tones; soft and sweet one minute, then staccato hammering of
smashing Guitar completely realized with a rapture-like delivery.
Percussionist Liam Mcnamara throbs with a Bonham-like force.
Keyboardist Charlie Gallipeau provides spacey keyboard and moog
support which lends an expansive import to the songs.
Each song seems to segue to the next which connects them in
as a sort of spiritual time-line. “Away” testifies that this band must
dream quite a bit- they come off like a sleepy fog one moment, then
as excitable as a sunlit wave crashing ashore the next. Think Chris
Isaac on guitar, but guided by David Gilmore’s hand.
“It’s impossible for me to separate concepts from the senses...
visual to auditory to emotional.” This is not a surprise, but even more
fascinating, as is the repertois of songs which solidly testify to her
reflections.
Though every friggin’ inch of this recording is important to hear, Darkness Is
Light is my pick of the entire CD; This is like the lost track from Page and Plant’s
“Unledded” but with Patti Smith on vocals. it is original in the sense that the
aforementioned artists here are dutifully borrowing from Indian raga and slight
lydian influences. while lending their respective hands to western blues rhythms.
Equally true for HOB, Kelly has no trouble convincing the listener of her purpose,
“Darkness is light/ and darkness is my hearts design/ I was born ages ago/ but I
was burning long before”. the reverb of her Epiphone tells the rest of the story.
Amanda’s voice boasts a stronger treatment for the short but sweet “You
Give Yourself Away”. The band is especially succinct and driven during this song.
They fill up the void and rock this number very solidly- I wished for it to continue
and rock steady for about a half hour or so. “Death birds In Trees” sounds a bit
like a reprise of the first track but given a slight Morocco-Turbanesque twist. She
is quite masterful at changing moods in a heartbeat and delivers near masterful
transitions. This is a woman truly in possession of her passion and emotions.
“I ordered some traditional Arabic/Turkish Cd’s online which got me on
some sort of a ‘list’ at the Department of Homeland Security; sometimes they
open my mail and stamp their logo on it, then send it back to the seller. Pretty
hilarious”, Kelly states. It’s no surprise they’d be monitoring her, being a talented,
freethinking artist and all. Into The Sun has a moroccan feel to it, makes me think
of some great recordings of the Master Players of JuJouka - no doubt an influence
hearing them blend african rhythms with the variance of eclectic instrumentation the group likes to employs. The Yardbirds used to delve into areas of unique
eastern intrumentation. The turkish Saz is an interesting instrument that has
similarities to the guitar, but is capable of odd quarter tunings. When plugged
into western amplification, the droning effects are downright spectacular. “I was
inspired by Liam to get one and play it, There are double courses of strings and
quarter tone frets that are moveable. I plug it in to a Marshall half-stack through
effects pedals”. Mix with a Zeppelin heaviness and you’ve got the ingredients for
a spiritual awakening.
Finally, Dragonfly Machines takes a Pulp Fiction scene, throws it in a spaghetti western, only with a surfy- organic feel. I’m reminded of the lost theme
song to the Epic film series called” Lexx”, the dragonfly spaceship made out of
all-organic material. It had a personality, and flew around attempting to exert
musical sounds out in the outskirts of the universe...
And hey, isn’t that where great music really comes from?
You can find this superb recording at: houseofbadger.com, Music Millennium, Cdbaby and itunes.
House Of Badger will play the Doug Fir on Nov. 18th
Also check out Amanda Kelly’s website at: abstractmachines.net
Dykeritz:
Rearrangerologyistics
Lucky Madison Records
rom the first few bars of the first arrangement the listener will know
they’re in for a fantasmigoric ride. Jordan Blum has a very colorful and
creative mind, enabling him to weave dazzling images along with his dubious lyrical
content. “I recorded on a white baby grand piano along with the drums myself at
the Magic Closet”. Blum adds, “The album took about 2 years to write and the
material was a yield from several decent out-takes. Nine solid songs was the target”.
Jordan played most of the instruments: piano, drums, guitar, Baldwin organ
and some midi and Logic on his Mac. He brings in a host of samplings from
various places on a hand held pocket recorder...coin dropping, a bell from his
family’s grandfather clock, etc.
The use of inanimate objects is still fairly rare in music but testimony that
music can be employed from any type of physical material and conjectured successfully. Jordan is not only unafraid, but understands the value of proper placement
to conjure up a musical sound no matter where it needs to come from.
The disc tends to come off as one piece rather than separate songs most of
the time, and I’m not sure its entirely important to try and divide them- since the
beautific design of Jordan’s audio and word play is so well structured.
The Apple Is Blue carries an incredible combination of soundscapes. Gary
Newman is handily called to mind in the vocals and quirky keyboard styling, as
is George Harrison with its “Crackerbox Palace” feel.
The cacophony of instruments and sampled voicings are tight and well
placed, reminding me of the Kronos Qtet, or latter-day Frank Zappa orchestrations. Crazy little sound samplings of wood, metal and miniature alarm clocks
deliver at once a futuristic node-like feel, while delivering a reminiscent nod to
the past. This arrangement also calls Eric Dolphy’s Out To Lunch to mind.
Don Juan’s Son and George Washington enlist a strange and otherworldly
melody to them. For some reason I’m thinking about Harry Nillson. There’s also
a movie soundtrack quality emanating from them. A definite seventies classic feel
makes me think of “Dream Weaver”...but much cooler.
Blum’s lyrics may be a bit difficult to disseminate, so I quit trying and decided
to just enjoy the Alice In Wonderland cool imagery they project - “There’s a mousetrap on the doorknob, you could fry an egg on the stripper’s back/ The tornado
pulled the magician’s shoes, I’ll color your bathroom a crazy sort of blue”. Stuff
right out of Jitterbug Perfume, or poet Robert Bly’s collective consciousness.
There’s a Sgt. Pepper definition to his mostly self-collaborative process,
though it’s more antiquarian and cosmologically oriented. By this, I’m referring
to tracks 5-7. Replete with the Billy Preston keyboards, and Dark Horse era alto
saxophone blasts. Too Many Chefs delivers an echoing chorus of background
vocalists fading out with an electronic but very real sounding string section which
leaves the listener’s mind mingling with the outskirts of the universe...splendid.
The final track Big Drapes closes out the disc with a late 70’s if not a somewhat funky appeal, like some Stevie Wonder Musiquarium out-take, but w/ R2D2
singing the last verse or refrain.
This release is yet another refreshing glimpse into the great creative and musical genius of what Portland has to offer the local music community, and the world.
Released july 8th, you can find this CD at Music Millennium as well as EM,
Amazon and iTunes.
F
Lewi Longmire Band:
Fire ‘neath The Still
There are just a handful of vital musicians in this town who are both multiinstrumental and in demand to guest with any number of other very talented
musicians. Lewi is one of them.
Here he shows his aptitude for different styles ranging from alt-country,
balladic, and outright classic- rock- sound territory. There’s a James Taylor quality
to his voice, and some Jimmy Buffett overtones, which ain’t a bad thing at all.
Longmire’s band evokes a western feel that comes off easy and listen-able,
with out too much of the monotony that is all- too- common with this kind of
music.
All songs are written by Longmire, which immediately garners 3 stars. On
top of that, there’s more than a few which are quite original, considering the typical territory that he’s treading.
Sweet Situation remotely sounds like the Billy Joel song ‘You May Be Right’
but the versing and overall feel is entirely different, and is easily radio-play ready.
The chorus-like refrain of the title is calming and sure. Lewi’s guitar soloing can
range from muted grit to slick and original.
Disappear counters as a departure into a jazzy realm. It’s acoustic relay and
tempo flutters an upbeat mood, think of George Harrison and John Hyatt cowriting a song together. Good stuff.
San Ysidro and Behind The Eightball exhibit both LL’s south western roots
and balladic capabilities, and could double as traditional Irish folk songs.
There’s a few outright country numbers that this reviewer is not keen on,
but to be fair are thankfully devoid of mindless cowboy hats and syrup. At least
Lewi eminates with a touch Bakersfield or “old Nashville” influence, along with
enough ‘rock’ sensibility such as groups like Catmother or the Eagles.
Voluntary Martyr is a the kind of sound I live for, a solid rocker complete
with a progressive-styled late 70’s attitude. It builds up and up, then includes a
dynamic bridge-like transition that carries it back beautifully to the beginning.
New Lone Ranger finishes the compilation out with a campfire-style number.
The banjo picking pairs well with the acoustic plucking. Nice melody and harmony...all I was missing was my canteen, tin plate, and pile of wood to lean back on.
You can find this CD at Music Millennium and CDBaby.
The Lewi Longmire Band plays at the Laurelthirst every thursday from 6-8pm
BILL RHOADES:
MUSICIAN OF THE MONTH
Top selling 20 Portland Artists for Oct. 2008
1. Blitzen Trapper - “Furr”
2. Various - “Dearly Departed True Lies in Song Unearthed from Lone Fir Cemetery”
3. Horse Feathers - “House with no Home”
4. Talkdemonic - “Eyes at Half Mast”
5. Portland Cello Project - “Portland Cello Project”
6. Starfucker - “Starfucker”
7. Linda Hornbuckle/ Janice Scroggins - “Sista”
8. Blind Pilot - “3 Rounds & A Sound”
9. Rebecca Kilgore/ David Frishberg - “Why Fight the Feeling”
10. Death Cab for Cutie - “Narrow Stairs”
11. Conor Oberst - “Conor Oberst”
12. Curtis Salgado - “Clean Getaway”
13. She & Him - “Volume One”
14. Various - “PDX Pop Now! 2008”
15. Captain Bogg & Salty - “Emphatical Piratical”
16. Shaky Hands - “Lunglight”
17. Ellen Whyte - “Four Way Stop”
18. Helio Sequence - “Keep You Eyes Ahead”
19. Crazy 8’s - “Big Live Nut Pack (20th Anniversary)”
20. Derby - “Posters Fade”
We are starting a series called “Musician Of the Month” which will reference an artist or band that has performed either an extraordinary musical
feat or something outstanding recently. If you know of any you think qualify
please submit it in writing to: ty@buko.net. We will consider the entries and
make a decision.
Our very first feature makes for a fine example to set the tone of what it
means to be a dedicated musician. Seasoned veteran and consummate bluesman Bill Rhoades!
Bill has been a mainstay on the portland blues scene for many years now.
Maybe you’ve caught him at one of the many live shows he and his band, the
PartyKings have performed at many a club in and around town. He also heads
up the ‘Harmonica Blow-off each and every year at the Waterfront Blues Festival, as well as hosts his own radio show on KBOO called Blue Monday on
KBOO 90.7. And yes, he has one more job, helping overwhelmed shoppers
find just what they’re looking for at Music Millennium
If you’ve been up there lately, you might notice that Bill has been limping
around and wincing in pain...That’s because he had surgery on his foot recently
because he FELL THROUGH A STAGE at the beginning of a performance!
Not the first time you say? Townsend did it, Morrison did it, Zappa did
it, and a bevy of other hapless performers have drunkenly or otherwise fallen
prey to it on a fairly continual basis. And how many of the afore mentioned
went home crying? Suffice it to say that I know of only ONE who didn’t.
And he wasn’t drunk!
Apparently, a flawed stage gave and down crashed our first hero hitting
the cement below. Bill went to the ER, but an x-ray didn’t immediately show
anything was broken.
Only a tad late, Bill came back and insisted on completing the gig which
ran 2 hours. He refused to take pain meds so his performance wouldn’t suffer,
which begs the question, why do so many feel like they have to get F’d up
in order to perform?
Some in the audience thought there was a problem since Rhoades usually stands and stomps his feet. Instead, Bill toughed it out and put on a great
show. Now that’s what I call Da Blues!
Bill’s ankle was broken and has some tissue damage and will now be off
his feet at least until january. We wish him a speedy recovery.
Bill, instead of being like so many whining crybabies half your age who
cancel entire tours because they stub their toe, you are a Musical Hero and a
shining example of dedication to your audience.
Every music fan should treat themselves and go out to see the PartyKings when Bill is back on his feet, you will not be disappointed.
L
by Tod Dammitt
ess than 4 hours drive northbound on I-5 from Portland Oregon,
Seattle Washington is a city rich in Northwest culture. The historic
district is ninety acres of dancing, live music and spicy food, with
many different old style bars and pristine night clubs, you will find the entertainment is quite plentiful. Pioneer Square has art galleries, bookstores and antique
shops, not to mention easy walking to most locations. If its local and fresh, that
your looking for, from any kind of fish to produce freshly hand picked, you can
cure your cravings with a quick trip to Pike place market. With cobblestone streets
and carriages pulled by horses, make sure you visit the park service museum, and
the observation tower, there’s also a vintage streetcar. In Seattle’s oldest neighborhood, you definitely see and feel the history of the city. Even the term [skid row]
originated in the Pioneer Square area because they would slide the timber down
Yesler to a steam powered mill on the waterfront of Seattle.
You will enjoy just about every attraction this city has to offer. Lots of local
and live entertainment available nightly in many of the watering holes in the
downtown areas. One of the cool things about night clubbing in Pioneer Square
is you only pay one cover charge for every club in the Square, and although its
named Pioneer Square it shape is anything but square. The area covers from East
to West, between 2nd Ave and the Alaskan Way Viaduct. Then from South to
North, between Columbia St. and King St. One of the drawbacks is limited street
parking but there are plenty of payed parking lots as well as metered parking spots.
Some of the clubs are: The Old Timers Cafe on 2nd Ave., The Triangle Pub
on 1st Ave., The Rocksport in West Seattle, Neumos on Pike St., and the Central
in Pioneer Square.
Less than 50 miles to the south on south I-5, you will find Tacoma and its
Tacomadome right off the freeway. Home to concerts, (I bet you’ve been to at least
one there), home shows and sporting events make it one of the big attractions of
the city as well as the Glass Museum off Pacific Ave. in downtown. The Tacoma
downtown and the Hilltop neighborhood are rich with history as is the Tacoma
Narrows Bridge (remember that old grainy movie of it falling apart?) which
spans the Tacoma Narrows towards areas like Silverdale and Gig Harbor, making
the Tacoma area another hotspot for fine dining, culture and of course, the arts.
Some of the great clubs to see in Tacoma are: Hells Kitchen and Chopsticks
on 6th Ave., Jazzbones and The Drake in downtown, then Maggie O’tooles a few
minutes from downtown.
Some really great bands and musicians have come from the Seattle/Tacoma
area; Jimi Hendrix, The Wailers , Heart, Queensryche, Metal Church, Nirvana,
Alice in chains, Pearl jam to name a few. The local music scene is alive and thriving
despite the fact everyone is paying the high prices for fuel. For the musician looking
to play the Seattle-Tacoma area, it carries the promise of excitement,
fulfillment and maybe even stardom.
Metal Church, one of those really great Seattle bands from the
eighties (1984 to be precise), has just released a new album, “This Present Wasteland”. Most everyone I grew up with, including myself and the
other musicians in Seattle were going to all the Metal Church shows. Their first
Album (1985), on vinyl, was “Metal Church” and the line up was 5 guys from the
South King County area: David Wayne-vocals, Kurdt Vanderhoof-guitars, Craig
Wells-guitars, Duke Ericson-bass, and Kirk Arrington-drums. The band was on.
Things were great, they released the Dark in 1987.
Then Mike Howe stepped in to replace David Wayne in 1989 when they
released “Blessing in Disguise”. Off they went again. Kicking ass and taking names
with hits such as “Badlands” they got massive nationwide air play on the satellite
radio station, Z-Rock, as well as MTV. Things seemed to go the opposite direction after a few years, but that did not stop them from getting continuous spots on
radio, TV, and videos on MTV, “Badlands” was one of the videos which topped the
charts and helping keep them alive in the hearts of the fans through the lean years.
In all the bad has released nine albums including their latest release. They have
sold over a million CD”s all the while, writing, arranging recording and producing.
Kurdt Vanderhoof, a house engineer for the Trans Siberian Orchestra, and
with his side project, Presto Ballet reformed the line up of Metal Church in October
of 2003. Once again a killer line up of: Ronny Munroe-singer, Jay Reynolds-guitars.
Rick Van Zant has now replaced Jay Reynolds in April 2008. Jeff Plate-drummer
(formally from Sabotage) also works w/TSO. Last but not least Steve Ungerbassist. A killer line up indeed, in fact the best line up yet. Since the reformation
of the band, they have done some touring, in the US and all over europe.
With the release of “This Present Wasteland” in Sept 2008, they are also
planning a European tour early 2009. Watch out for the US tour! in 09!! Some
of the places they look forward to playing are Seattle, Portland of course, Minneapolis , Texas, New York and the Mid-West. There is also talk of a live album
recorded in the Northwest. It has been rumored it will a Seattle club Studio 7,
a real hotspot and major venue in the area. So keep your eyes on these guys cuz
they are a great band. I enjoyed them as a kid and even more today. On behalf of
BUKO magazine, and myself, I would like to thank Steve for allowing us in his
house so we could bring it to your house.
continued next page
Editors Note: This was posted on Metal
Church’s website, www.metalchurchmusic.com
October 27, 2008
We regretfully announce that Metal Church has
been forced to take a hiatus from touring activities for
six months or so. Kurdt Vanderhoof has been suffering
from serious bulging discs in his lower back and will
have to be in regular spinal rehabilitation to correct
the problem.
Kurdt released this statement earlier today:
“I have been living with severe pain almost
constantly for the past four years and I have to do
whatever possible to get healthy again. This condition
is literally stealing my life from me, and making all
the things I enjoy doing almost impossible. I want to
be able to walk when I’m fifty and I can’t live in pain
anymore. But the good news is, with regular treatment
and a rehab program I can get this fixed and get back
to performing live and traveling again. This comes at
a very bad time with the release of our new album,
but it’s unavoidable. I will be working in the studio on
some new Metal Church projects, as well as completing
Ronny Munroe’s new solo album.”
The members of Metal Church will be pursuing
other projects during this time and will get back to the
stage as soon as Kurdt is healthy again.
We thank all the folks that have been so supportive of Metal Church over the years and we appreciate
your understanding in this situation.
We will keep you updated as things progress.
Metal Church
Questions or comments? email us a letter! we
would love to hear from you. from all of us at BUKO
and myself in the Seattle-Tacoma area keep reading
and keep rocking. Next month some new bands
including Unhailoed and the Dawn of the Dead Tour.
Ronny Munroe
photo by Buko
Steve Unger
2008
HALL OF FAME INDUCTEES:
Second Annual Awards Ceremony
photos by Buko
DAVID FRISHBERG
NORMAN LEYDEN
CARLTON JACKSON
MARLON MCCLAIN
HOLY MODAL ROUNDERS
DAVE LEIKEN
TERRY CURRIER
Curtis Salgado
Rindy Ross.
David Frishberg receives his award from Calvin Walker.
Marlon McClain.
Norman Leyden celebrates his 91st birthday with his Award and
performances with Carton Jackson and Thomas Lauderdale.
L to R; Bob Ancheta (KINK), Dave Leiken (Double Tee Concerts),
Sam Adams (Portland Mayor Elect), Terry Currier (Music Millennium).
View more photos of the event at buko.net
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.
Cathedral Park Place
Suite #284
6635 N. Baltimore St.
Portland, OR 97203
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.
Digital Evidence
Ty Hitzemann
Phone: 503-233-7132
Email: tzmonn@yahoo.com
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
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.
Cathedral Park Place
Suite #284
6635 N. Baltimore St.
Portland, OR 97203
Phone:(503) 233-7284
Toll free: 866-469-9820
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
Call for 4/4 pricing.
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
Rates posted on website: yes
500 CD Package Cost = $945.00 5 color
on disc print, 4 page 4/1 insert and
traycard, (black or clear tray) Jewel Cases
and Overwrap, free bar code, no overs,
shipping to the Portland/Vancouver area.
1000 CD Package Cost = $1,180.00 5
color on disc print, 4 page 4/1 insert and
traycard, (black or clear tray) Jewel Cases
and Overwrap, free bar code, no overs,
shipping to the Portland/Vancouver area.
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: 541855-7484
Fax: 541-855-7581
Email: info@phylcoaudio.com
Web: www.phylcoaudio.com
Dungeon Replication
Contact: Gail Husa
106 SE 11th Avenue,
Portland, OR 97214
500 CD Package Cost = $936.00 2-panel
TollFree: 877-777-7276
full color insert and tray card (4/1, full
Phone: 503-796-0380
color outside, black and white inside) ,
Fax: 503-223-4737
2 color on CD, insertion of printing into
Email: info@dungeon-replication.com
jewel case, shrink wrap, and barcode.”
Web: www.dungeon-replication.com
2-panel full color insert and tray card
(4/1, full color outside, black and white
Includes glass master, 3 color on-disc
inside) , 2 color on CD, insertion of
printing, 4/1 four panel folder, 4/0
printing into jewel case, shrink wrap, and
tray card, jewel case, assembly and shrink- barcode.
wrap. You supply the film.
SuperDigital
Logic General
1150 Nw 17th Ave
26200 SW 95th Avenue, Suite 300 WilPortland, OR 97209-2403
sonville, OR 97070
Toll Free: 888-792-8346 (orders only)
Toll Free: 800-959-7747
Phone: 503-228-2222
Phone: 503-598-7747
Email: superdigital@superdigital.com
Fax: 503-598-9375
Web: www.superdigital.com
Email: oregonsales@logicgen.com
Owner: Rick McMillen
Web: www.logicgen.com
Musicians Resource Guide
Labels
Burnside Records
3647 SE 21st. 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 Taildrag-
gers, 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
Portland, OR 97238-5771
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
Studios: Gung-Ho Studios (Eugene), Freq
(Portland)
Submission format: CD or high quality
video
Offering: Unusual agreements for the right
bands.
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) 781-2539
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 highquality cassette.
Kind of deals usually offered: We press
mostly 45s, but can do LPs and CDs.
Artist Roster: Dead Moon, Flapjacks,
Spider Babies, Jr. Samples, 8 Ft.Tender,
Hardship, Asthma Hounds, Deadbeat
Hearts.
Distribution: Get Hip, Revolver, Mordam,
NAIL, Subterranean, Burnside Distribution (CD’s only).
Mastering
Freq Mastering
1624 SW Alder Portland, OR 97205
Phone: 503-222-9444
Fax: 503-222-6446
Email: ryanfoster@freqmastering.com
Web: www.freqmastering.com
Nettleingham Audio
108 East 35th Street Vancouver, Washington 98663-2207
Toll Free: 888.261.5086
Phone: 360.696.5999
Northstar Recording Studios
313716 SE Ramona Street
Phone: 503-760-7777
Fax: 503-760-4342
Web: http://www.northstarsamples.com/
studio/index.html
SuperDigital Ltd /
Purple Mastering Studio
1150 N.W. 17th Portland OR 97209
Phone: 503-228-2222
Tone Proper Mastering
Website: www.toneproper.com
Email: nickmoon@toneproper.com
Phone: 503-210-5660
Studio Manager: Steve Murray
steve@toneproper.com
Phone: 503-317-6783
Rates & Services: DDP Master $50,
Mastering per hour $95, CD Master Red
Book $25. We offer mastering from analog
tape (both 1/2” and 1/4”), using Mike
Spitz ATR 102 deck. There is an additional
one-time charge of $100 per project for
this service.
Clients: Kolvane, Pink Martini,Hillstomp,
To Live and Die in LA, Echohelstrom,
Gino Vanelli, Liv Warfield Sasspirilla.
Music Stores
Ape Over Music
3909 Main Street
Vancouver, Wa. 98663
360.696.3100
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
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
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
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
Guitar Crazy
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
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
Five Star Guitars
2303 NW 185th Ave.
Hillsboro, OR 97124
in the Tanasbourne Village Shopping
Center.
voice: 503.439.9500
fax: 503.533.2134
web: www.fivestarguitars.com
Store Hours: M-F: 10-7 | Sat: 10-5 | Sun:
12-5
Guitar Castle
3439 State St. Salem, OR. 97301
Phone: (503) 364-2757
Salem’s Vintage Guitar Store
Guitar Center
Guitar Center Beaverton
9575 S.W. Cascade Ave.
Beaverton, Oregon 97008
Phone: 503-644-9500
Fax: 503-644-9600
Manager: Brandon Tuber
11-6
Guitar Center Clackamas
13029 Southeast 84th Ave.
Clackamas, Oregon 97015
Phone: 503-654-0100
Fax: 503-654-0300
Manager: Brian Harrison
11-6
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
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
Sun:11- 5
Sheet Music Closed on Sunday
Eastside, Division store:
Address: 12334 SE Division
Portland OR
-All instruments and sheet music
Sun:11- 5
Store Hours: M-Th: 10-8 Fri-Sat: 10- 6
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
Bruce McLaughlin-Lighting Specialist
PO Box 25059, Portland, OR 97298
Phone: 503-644-9597
Fax: 503-644-9598
Email: bmclaugh@davidbowie.com
Showcase Music and Sound
3401 SE Hawthorne Blvd.
Portland, OR. 97214
Toll Free: 888-240-4048
Phone: (503) 231-7027
Web: www.showcasemusicandsound.com
Email:showcase@showcasemusic.com
Silver Lining; the musicians loan center
2122 NE Sandy
Portland, OR 97232
Phone: 503-813-9273
Fax: 503-813-9275
Web: www.pawntalk.com
Email: pawnbroker007@pawntalk.com
Our Hours: Monday through Friday, 9:30
am to 5:30 pm
Guitars new & used. Violins, Flutes, Clarinets, Saxophones, even have a Harmonica
or two.
Easy Parking at Our 21st and Sandy Location
Tigard Music
11579 Sw Pacific Hwy,
Tigard, OR 97223
Phone: 503-620-2844
Web: www.tigardmusic.com
Wat’z Up Hillsboro Music Co.
270 E Main Street
Hillsboro OR 97123
phone: 503-648-5241
fax: 503-640-1291
web: www.hillsboromusic.com
Ken & Kelly Scandlyn
“music store with more”
Store Hours: M-F: 10-6 | Sat: 10-5 |
Closed Sunday
Weathers Music Corp.
2825 Commercial St. Southeast
Salem, OR. 97301
Phone: (503) 362-8708
Web: www.weathersmusic.com
Production
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
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.
Email: kaytea@xopublicity.com
Web: www.xopublicity.com
www.myspace.com/xopublicity
“A Damn Fine PR Firm”
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
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
Pro Sound & Lighting
3511 SE Belmont St.
Portland, OR. 97214
Phone: (503) 232-4889
Web: www.prosoundonline.com
Store Hours: Mon-Fri 10:00 AM to 6:00
PM Sat: 10:00AM to 4:00PM
Portland’s #1 Sound and Lighting Company
Showcase Rentals
3401 SE Hawthorne Blvd.
Portland, OR 97214
Toll Free: 888-240-4048
Phone: 503-231-7027
Rental Manager: Tim “TC” Chassaing
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
Radio
KISN - 910 am
Format: Oldies
Street Address: 0700 SW Bancroft St.
Portland, OR 97239
Phone: 503.223.1441
Fax: 503.223.6909
Web: www.kisn910.com
General Manager: Erin Hutchison
KPSU - 1440 am - Portland’s college radio
Format: Portland State Univ. student radio
Street Address: 1825 SW Broadway,
Sub-Basement Suite S18,
Portland, OR 97201
Mail Address: P.O. Box 751-SD.
Portland, OR 97207
Phone: 503-725-5669
Fax: 503-725-4079
Web: www.kpsu.org
Program Director: Tony Prato
Email: programming@kpsu.org
Station Manager: Jeremy Hardy
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 541463-6000
Web: www.klcc.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
General Manager: Paul Clithero
Program Director: Steve Nicholl
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
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
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
KMHD - 89.1 fm - Jazz, Blues, and NPR
News
Format: Jazz Street
Address: 26000 SE Stark St.
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.
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
Web: www.k103.com
Email: from site
Program Director: Tony Coles
KFIS - 104.4 fm - the Fish
Format: Contemporary Christian music
Street Address: 6400 S.E. Lake Rd, Suite
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
Phone: 503-223-0300
Web: www.khits1067.com
Email: from site
KVMX - 107.5 fm -Jammin’ hits and Hip
Hop
Format: Hip Hop
Street Address: 2040 SW 1st Avenue,
Portland OR 97201
Phone: 503-517-6400
KXJM-FM accepts new music submissions
via CD.
CD’s may be sent to the station to the
attention of
LISA ADAMS / Jammin’ 107-5 Program
Director
Web: www.jamminfm.com
Email: from site
Record Shops
2nd Avenue Records
Address: 400 SW 2nd Ave., Portland OR
97204
Phone: 503-222-3783
Store Hours: M-F 11am-8pm, Sat 10am8pm, Sun Noon -6pm.
360 Vinyl.CD.Gear
Address: 214 NW Couch St., Portland OR
97209
Phone: 503-224-3688
Web: www.360vinyl.com
Store Hours: M-Sat 11am-8pm, Sun Noon
-6pm.
Anthem Records
Address: 400 SW 2nd Ave., Portland OR
97204
Phone: 503-222-3783
Store Hours: Sun-Thurs 11am-8pm, Fri-Sat
11am-9pm.
Web: www.anthemrecordsinc.com
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
Discourage Rock & Roll
Address: 1737 SE Morrison St., Portland
OR 97214
Phone: 503-528-1093
Store Hours: Tue-Sat 11am-7pm, SunMon12pm-6pm.
Email: discourage@discouragerecords.com
Web: www.discouragerecords.com
Exiled Records
Address: 4628 SE Hawthorne St., Portland
OR 97215
Phone: 503-232-0751
Store Hours: Tue-Sat 11am-7pm, Sun
12pm-5pm.
Everyday Music
All stores open 9am ‘til midnight 365 days
a year
Web: www.everydaymusic.com
Downtown
Phone: (503) 222-9166
Web: www.platinum-records.com
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
Q is for Chior
Address:2510 SE Clinton St., Portland OR
97202
Phone: 503-235-9678
Store Hours: Tue-Sun 11am-7pm.
Web: www.qisforchior.com
Ranch Records
237 High St. NE Salem, OR. 97301
Phone: (503) 362-8515
Reflections in Time
1114 NW 21st Ave., Portland, OR. 97209
Phone: (503) 223-7880
Store Hours: M -Fri: 12pm to 7pm, Sat.
12pm - 6pm
reflectionsintime@hotmail.com
Green Noise/Dirtnap Records
Address: 2615 SE Clinton St., Portland
OR 97202
Phone: 503-736-0909
Store Hours: Mon-Sat 12pm-8pm, Sun
12pm-5pm.
Email: www.greennoiserecords.com
Web: www.dirtnaprecs.com
Jackpot Records
Web: www.jackpotrecords.com
Westside
203 SW 9th Ave. Portland, OR. 97205
Phone: 503-222-0990
Store Hours: M -Thrs: 10am to 7pm, FriSat. 10am - 8pmSun: 10 am to 6pm
Eastside
3735 SE Hawthorne Blvd. Portland, OR.
97214
Phone: 503-239-7561
Store Hours: M -Thrs: 10am to 7pm, FriSat. 10am - 8pm, Sun: 11 am to 6pm
Jump Jump Music
7005 NE Prescott. Portland, OR. 97218
Phone: 503-248-4828
Mississippi Records
4007 N. Mississippi, Portland, OR. 97227
Phone: (503) 282-2990
Store Hours: Wed-Mon: 12pm to 7pm,
Closed Tues.
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
Platinum Records
104 SW 2nd Ave. Portland,OR. 97204
SMUT (So Many Unique Treasures)
Address: 7 SE 28th Ave., Portland OR
97217
Phone: 503-235-SMUT
Store Hours: Mon-Sat 12pm-7pm, Sun
11am-6pm.
Web: www.smutvintage.com
Sonic Recollections
Address: 2701 SE Belmont St., Portland
OR 97214
Phone: 503-236-3050
Store Hours: Tues-Sat 12pm-6pm.
Web: www.sonicrec.com
Timuktunes
Address: 2701 SE Belmont St., Portland
OR 97214
Phone: 503-239-0179
Store Hours: Open 7 days a week- call for
hours.
Web: www.timbuktunes.com
Vinyl Resting Place
8332 N. Lombard, Portland, OR. 97203
Phone: (503) 247-9573
Store Hours: Tues-Sat: 12pm to 6pm, Sun
11am -5pm.
Web: www.vinylrestingplaceusa.com
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.
Mark McNeill
Live Sound Engineer
503.704.8130
Text message: 5037048130@mobile.att.
net
Email: mmcneill@hotmail.com
Services: We specialize in custom wiring
harnesses, pick-ups, repairs, boutique
effects & more!
Hours: Tue- Sat: 11-6
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
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 full-time technicians and
a full-time office staff are ready to suit your
repair needs.
Services: Home Stereo, Professional
Equipment, Car Audio
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)
Fearless Guitars
5237 NE Sacramento
Portland,OR. 97213
Phone: (503) 287-3636
Email: gearsales@fearlessguitars.com
Web: www.fearlessguitars.com
Owner: Chance Walte
Howertone Guitar & Amp Repair
506 Washington St.
Vancouver Washington 98660
360-993-1833
Leighton Audio
3624 N. Mississippi Ave
503-367-5725
Jef Brown
www.leightonaudio.com
Portland Custom Shop
1115 SE Morrison
Portland Oregon 97214
503-227-9260
www.soursound.com
Bryan Sours
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
Wire Audio Electronics Repair
503-954-1328
Eric Hold
www.wireaudiorepair.com
Zach’s Engineering
16246 SE Salmon
Portland Oregon
www.vibroworld.com
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
Email: bart@bartpro.com
Phone: 503-543-7664
Contact: Bart Hafeman
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
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
Blue Dog Recording
1314 NW Irving
Portland, OR 97209
Phone: 503-295-2712
Email: brobertson@bluedogrecording.com
Web: www.bluedogrecording.com
Fresh Tracks Studio
Owner: Bruce Robertson
1813 S.E. 59th Portland, OR 97215
Website: www.freshtracksstudio.com
Ronn Chick Recording
Email: jon@freshtracksstudio.com
31209 NW 86th Circle
Phone: 503.235.7402
Vancouver, Washington 98665
Contact: Jon Lindahl
Phone: 360-571-0200
Owner/Engineer: Ron Chick
GoodJobStudio
(IT’S YOUR MIX)
Crossroads Productions
NE Alberta ST
7708 NE 78th St.
Vancouver, WA 98662
Contact: Johnny Martin
Phone: 360.256.9077
Phone: 503-422-1886
Email: info@crossroadsproductions.net
Email: info@goodjobstudio.com
Web: www.crossroadsproductions.net
Web: http://goodjobstudio.com
Staff: Darren Bowls, Production/Artist
Development.
Gung-Ho Studios
86821 McMorott Lane
Dead Aunt Thelma’s Studio
Eugene, Oregon 97402
7923 SE 13th Ave.,
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 - Nonsmoking 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
97213
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.
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
Rock Around The Clock PDX
2329 NW 23rd Place
Portland, OR. 97210
503.241.2609
Website: rockaroundtheclockpdx.com
Email: rockaroundtheclockpdx@gmail.com
High Tech Digital Security System, Double
locking doors, Indoor drive-in dock with
lift for easy loading.
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
Booking: David MacKay
Format: Blues
Capacity: 40
Equipment: PA and lights
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
Holocene
1001 se morrison
portland, oregon 97214
503.239.7639
booking: bookings@holocene.org
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: 4pm2am, Sun: Closed
Music begins at 8pm
Kells
112 SW 2nd Ave
Portland, OR 97201
503.227.4057
Kelly’s Olympian
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 12:30pm5pm
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
Booking: bookings@somedaylounge.com
Lead Sound Person: Ryan
Olson(Morphed Productions)ryan@
morphedproductions.com
www.morphedproductions.com
Capacity:
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
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
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
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
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
Trails End Saloon
1320 Main St.
Oregon City, OR.
Phone: 503.656.3031
Format: Blues
Booking: Tom Snyder
Capacity: 118
Music: Wed-Sun.
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
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
“I dig local music”
“I do insurance”
Marc Baker
503-227-1771
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
Tug Boat Brewery
711 SW Ankeny St.
Portland, OR 97205
Phone: 503-226-2508
Format: Jazz
Owners: Terry Nelson and Megan
McEnroe-Nelson
Email: tugboatale@webtv.net
Web: www.d2m.com/Tugwebsite/ Capacity:
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:
Wonder Ballroom
128 NE Russell,
Portland, OR 97212
Wonder’s Mailing Address:
3319 SE Division
503-238-GITR
guitarcrazymail@aol.com
www.guitarcrazy.com
Phone: 503-774.4513
Format: Rock’n Roll Strip Club
Booking: Frank Faillace
Email: dantesbooking@qwest.net
Web: www.myspace.com/devilspoint
Capacity: ?
Sex, Choice and Rock and Roll !
All Star Line Up for Planned Parenthood of the Columbia/Willamette
Beneﬁt 2008, Aladdin Theater, Dec. 6, 2008, 8PM
The Cause: Planned Parenthood
Our mission is to provide, promote, and protect access to sexual and
reproductive health care.
Each year, almost 60,000 women, men and teens visit one of PPCW's eleven
health centers. We provide a wide range of education programs and health
care services, including low-cost contraceptives, emergency contraception,
annual gynecological exams, breast exams, cervical cancer detection and
treatment, testing and treatment of sexually transmitted infections, and
pregnancy testing and options counseling. Approximately five percent of PPCW
services are for first term abortion care.
We are an unrelenting champion of PREVENTION first and INTERVENTION
second.
We believe that all people, including children and youth, have a right to be
knowledgeable about their sexual choices and reproductive health, and to
learn how to behave responsibly, guided by their own individual standards of
morality.
The All Stars:
The artists performing for this benefit are generously donating their time and
talent to this worthy and important cause.

Buko mag v2-n5web

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