Criminal Records
LOCATION: Portland, OR / Seattle, WA
OWNER(s): Paul DeLay
TIMESPAN: 1982...
MISC NOTES:
"Paul DeLay: Groovin' In Limbo"
by John Foyston [Blues Access, Fall 1991]
TO THE DELTA BORN
DeLay's been serious about the blues ever since he first heard the Paul Butterfield band play "Good Mornin' Li'l Schoolgirl," on an album entitled "Folk Songs '65." It caused deLay to hurry home from junior high school and sit entranced before the record player, playing the cut over and over. Once he could eke out a few of his own bluesy notes on a harmonica, that was it, deLay the bluesman was born.
DeLay was born on the last day of January, 1952, at Emanuel Hospital in Portland. He grew up in a home filled with music and art. Paul was a music man right from the start. His father still has a photograph of Paul at age three, with just his head and shoulders sticking out from underneath a roll-around speaker stand where he had crawled to be closer to the music.
He listened to all kinds of music from his folks' huge record collection of classical, jazz, swing and Dixieland. He remembers going to sleep to the sound of his mother playing the piano.
DeLay has always been exactly who he is, a friend remembers. Always big, he never played sports in junior high or high school. Painting, drawing, photography, and music interested him much more. His father gave him S&H; Green Stamps, and deLay pasted them into books and took them to the redemption center for yet another shiny Hohner chromatic harmonica. Which he would eventually drop in the sand at Boy Scout camp, with demoralizing effect upon all that German precision, after carrying it with him everywhere.
His father supported his ambitions, allowing his first band, Mixed Blood, to practice in the living room, and buying him a 1948 Packard hearse in which to ferry equipment around. Allan deLay used to take his son with him on photographic assignments such as his annual coverage of the Forest Grove barbershop quartet competition. Even at age 10, Paul could hear and identify the complex vocal harmonies, things the elder deLay could never hear.
School held less and less interest. He worked in the darkroom and took photos for the yearbook, but found classes increasingly pointless. An acquaintance has two images of deLay's high school years: Paul sitting in front of the school on the lawn, playing his harmonica, and Paul sitting in English class, staring out the window.
Towards the end of high school, everything else, including the art projects, became less important as he got deeper into music, and began to drink and experiment with drugs.
Shortly before graduation in 1969, deLay dropped out and joined the musicians union. While his former classmates were renting tuxedos at Nudelman's, deLay entered the smoky, nighttime world of the professional musician.
PLAYING IN A TRAVELLIN' BAND
Lloyd Jones and Mesi jammed with deLay, and they formed Brown Sugar. They practiced for months, and came down the chute as one of tightest bands this town had heard, and went on to become a regional legend.
Brown Sugar worked hard until the mid 1970's, breaking up, as many bands do, under the strain of living on the road. deLay left town for several months, touring with Sunnyland Slim and Hubert Sumlin.
1976 saw the formation of the deLay band Mk I, with Mesi, Brown Sugar drummer Bob Lyons, and Fred Coyner on bass. That lineup eventually metamorphosed into the Mk II deLay band: deLay on harmonica and vocals; Dave Stewart, late of Cray's band, keys and vocals; Jim Mesi, guitar; Don Campbell, bass and vocals; and Paul Jones on drums.
In the 1980s the band played about 200 nights a year over a circuit that included Portland, Seattle, Utah, Montana, Colorado, California and Idaho. The fact that deLay got his hair cut regularly in Salt Lake City conveys the essential looniness of their schedule.
Jones calls that band "roadworthy." They once scheduled a Saturday night gig in McCall, Idaho, followed by the Mayor's Ball in Portland, 500 miles away, at 2 o'clock the next afternoon. They'd play 16 or 17 days before taking a day off, and stay on the road for a month, you can't sit still out on the road. When Clair Bruce took over keyboard duties from Dave Stewart in 1984, he showed up for the first gig with a packed suitcase He didn't see home again for six weeks.
They grabbed for the brass ring. With natural frontmen such as deLay, Stewart and Mesi, they worked those shows like a travelling blues revue. The band cut three albums on their own Criminal Records label during this period: Teasin' in 1982, 1984's American Voodoo, and Paul deLay, in 1985. They opened shows for national blues acts including more than two dozen for B.B. King.
The albums started selling in Europe with American Voodoo and Paul deLay placing in the top 25 on Italian blues charts. European successes continued later with a headline spot at the 1988 Ravenna Blues Festival and the current success of "You're Fired!," a best-of collection on compact disc on England's Red Lightning label.
THE SLIDE
The personnel changed over the years, and deLay kept drinking. The two are not unconnected. A fondness for cheap wine in the early days escalated through the mid-1980's. He began by getting musician friends to buy him the large economy-size bottles of wine when he was still too young to legally purchase the stuff.
Friends remember the landing to his first-floor walkup apartment jammed with empty bottles. Or giving him a ride home from a gig and having a contentious deLay standing in front of his apartment asking, "Are you gonna give me a ride home, or aren't you?"
The drinking made him more combative, but it didn't erase deLay's underlying sweet nature. A friend hadn't seen him for years since high school and walked into Jekyll and Hyde's, where Brown Sugar was playing. deLay recognized him immediately and, though right in the middle of a tune, stepped away from the microphone and said "Hi bub."
They went out later, ate Chinese food and talked for hours. The friendship resumed as if the years had never intervened. And yet, the drinking took its toll. The same friend remembers Brown Sugar opening for the Johnny Otis Review. deLay played his butt off, and then headed for the bar and partied too hard. Later, when he had a chance to sit in with Otis, he played well, but he'd lost that earlier edge. He'd blown a good chance.
The drinking got worse in the 1980's. When the alcohol started to screw up his stomach lining, deLay switched from rum to vodka and chocolate milk. He talks about living alone in his Northwest Portland apartment : "I'd wake up, chug a pint of vodka, and go back to bed, I was inflammable."
A bandmember remembers coming back from California once. deLay wanted to stop at a liquor store in Chico. He bought a fifth of vodka and a quart of chocolate milk, and drank both in the next hour. As he got drunker, he became more emphatic, punctuating his conversation by punching the driver's right shoulder, emphasizing points clear only to deLay.
Finally, mercifully, deLay passed out, before they reached the border. The driver was mad. As they wound down the gently undulating highway into Ashland with deLay sloshing around, unconscious, in the passenger seat, he realized he could just ease the door open and send deLay tumbling into the canyon.
No one would ever know.
He'd never wanted to kill anyone so bad.
Today, he's glad he didn't. He loves and respects deLay more than any of the hundreds of musicians with whom he's played, but the story illustrates what it was like to live with deLay the drunk.
The undercurrents of dissatisfaction were plain. The rest of the players formed a clique that excluded him. They'd decided that they worked with him, but didn't necessarily like him. "I had this running nightmare that these guys wouldn't talk to me." He later found out that band members referred to him among themselves as "Big Opie."
One day, he just quit drinking. Like that. No program, no treatment. He stopped cold. He quit around 1987. Paradoxically, it signaled the last part of the slide.
"Couldn't buy a shine with the money I see", "Worn Out Shoe," by Paul deLay.
People working on their own recovery will tell you that quitting drinking is not the whole answer. If you don't work on the underlying issues, you haven't fixed the problem. You might even begin to abuse other drugs. Both were true for deLay in the last years of the 1980s. He controlled neither his life nor his band. The fact that deLay freebased cocaine by the late 1980s wasn't unknown to the band. He talked briefly with at least one band member about the pipe getting to be a real problem. They both agreed that deLay had to do something about it, but the discussion went no further.
Guitarist Peter Dammann thinks they screwed up by not saying "Hey, this is out of control," as they had with his drinking. But deLay posed a bigger problem as a drunk than he did as an addict. The addiction just wasn't that visible, thanks to the rigid compartmentalization that deLay has always applied to his life.
Earlier band members had some heavy brushes with cocaine. Guitarist Jim Mesi left the band in the mid-'80s to clean up, after throwing away a fair bit of money and a few of his beloved guitars to feed a habit that got out of control. Keyboardist Dave Stewart, who left in about 1984, sold a pound of coke to a DEA agent, and went away for a four-year prison term in 1986.
He's out now, working on a degree at Gonzaga College, and fronting a great band again. Mesi has been clean for four years. He's sounding great, has more guitars than ever and a fine band that's making a name for itself in the region. The band itself never partied that hard. The rigorous touring schedule meant that members generally would have a few drinks after getting off work at 2 a.m., play poker, or watch the band VCR. More likely, they'd sleep in order to be ready to pull out of town at 7 a.m.
And whatever deLay did behind the "do not disturb" sign on his motel room door, or at the house he shared with Peggy on Southeast 81st Avenue, he still showed up for jobs on time, as he always had. Jones can't remember him blowing a gig in 10 years.
Of course, nobody is going to talk about the trafficking charges. Not the federal prosecutor, not deLay's friends, not the lawyers, not anybody. Judge Helen Frye will decide that question sometime in the next year when prosecutor Ken Bauman opens the case of the United States versus Paul and Peggy deLay.
He will allege that wiretap evidence gathered in a case against Lonnie Lee Baker indicates the deLays bought and resold several kilograms of cocaine from Baker, who was convicted of trafficking and is now serving an 11-year sentence at a federal prison in Arizona. deLay's lawyer, Susan Reese, filed a motion to suppress the wiretap evidence, and a ruling is expected late this summer.
Whatever the outcome of the hearing and the trial, deLay's musical associates are sure of one thing: deLay was no drug lord. If he dealt cocaine, he didn't do it to make thousands of dollars, he was an addict who transferred kilos from Baker to another buyer, raking an ounce off the top of the deal as his profit.
deLay didn't own a car. deLay didn't own a watch. He lived with friends so he wouldn't have to pay rent. deLay had holes in his shoes. He owned his clothes and a bag of broken harmonicas. Not making money at it is no excuse for dealing cocaine, of course. If he did traffick in the stuff, the point is simply that deLay appears to have been more clueless than ruthless. He's one of the least predatory people on the planet.
"So I'm staying out of trouble, playin' it very cool," - "Ain't That Right" by Paul deLay
Today's Paul deLay is worlds away from the man who thought he was dying on stage in Brush Prairie. His sister Laura says the change means having her little brother back again, the monster is gone.
The change affects his whole life, but, as always, it's most evident in the music. His gigs are triumphant these days, as they should be: had the bust not brought things to a shuddering halt, few of his friends or family expected him to live much longer. To see him alive and happy is to realize the possibility of redemption exists for us all.
To hear him lead the most fully-realized deLay band ever renews the faith in the creative spirit. Assembled after the bust, the new band sounds great. deLay's harmonica swirls and swoops over Louis Pain's jazzy Hammond organ. Ex rock n roller Dan Fincher honks his heart out on tenor saxophone while Peter Dammann's Chicago-inspired guitar licks chunk like an axe sinking into seasoned oak. And under it all, John Bistline and drummer Jeff Minnick keep things on the boil.
Which would all be for nought if they didn't have deLay's new tunes to play. Now that he's finally writing original material, he's passed one of the big hurdles of his career.
A bigger hurdle than any sentence, by the way: anyone can do time, but few can write a good tune. And the new material is really good, the kind of playing and singing you'd expect from a world-class bluesman.
The guys in the band use words like "profound" when they talk about deLay's songs.
Typically, he's more self-deprecating. "Oh, I'll just come up with a hook or an idea for a groove, and then go to my files and get four verses of 'she done me wrong,' past tense."
But he has no questions where the inspiration comes from: "Sobriety. It's just the sobriety, man. It's such a lovely buzz."
MISC NOTES: LOCATION: Portland, OR RECORDING PERSONNEL: Duffy Bishop [vocals]; Chris Carlson [guitars]; Clair Bruce [B - 3]; Paul Whistler [piano]; Chris Mercer [saxes]; Joe McCarthy [trumpet]; Jon Ramm - Gramen [trombone]; Paul JoneZ [drums]; Saeeda Wright [vocals] RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio RECORDING ENGINEER: Ronn Chick FORMAT: compact disc DISC NOTES: Track #7 on compilation album Friends: Passed & Present COMPOSER: CAMERON - CAMERON
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: Terry Robb [vocals, guitar]; Albert Reda [vocals, bass]; Paul JoneZ [drums]
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
RECORDING ENGINEER: Ronn Chick
FORMAT: compact disc
DISC NOTES:
Track #11 on compilation album Friends: Past & Present
COMPOSER: Akst - Clarke
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: Duffy Bishop [vocals]; Chris Carlson [guitar]; Ken Scandlyn [slide guitar]; Don Campbell [bass]; Clair Bruce [keyboards]; Paul JoneZ [drums]; Saeda Wright [vocals]
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
RECORDING ENGINEER: Ronn Chick
FORMAT: compact disc
DISC NOTES:
Track #5 on compilation album Friends: Passed & Present
COMPOSER: Linda Perry
PUBLISHER: Stuck In Throat Music/Famous Music
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: Jeff Parrish [vocals]; Michael Branch [guitar]; Johnny B. [bass]; Ronn Chick [slide guitar]; Clair Bruce [keyboards]; Paul JoneZ [drums]; Daria Chick [vocals]
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
RECORDING ENGINEER: Ronn Chick
FORMAT:compact disc
DISC NOTES:
Track #6 on compilation album Friends: Passed & Present
COMPOSER: Dan Baird
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: Carl Joiner [vocals]; Jim Mesi, Lloyd Jones "Brown Sugar Guitars"]; Johnny B. [bass]; Ed Neumann [keyboards]; Chris Mercer [sax]; Michael Hankins [trumpet]; Paul JoneZ [drums]; Lloyd Jones [backing vocals]
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
RECORDING ENGINEER: Ronn Chck
FORMAT: compact disc
DISC NOTES:
Track #2 on compilation album Friends: Passed & Present
COMPOSER: Eddie Hinton
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL:Paul Whistler [vocals]; Clair Bruce [keyboards]; Don Campbell [bass]; - Bird Koder [guitar]; Dave Graff [pedal steel]; Paul JoneZ [drums}
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
RECORDING ENGINEER: Ronn Chick
FORMAT: compact disc
DISC NOTES:
Tracj #8 on compilation album Friends: Passed & Present
COMPOSER: Charlie Rich
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: Terry Robb [vocals, guitar]; Albert Reda [vocals, bass]; Paul JoneZ [drums]
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
RECORDING ENGINEER: Ronn Chick
FORMAT: compact disc
DISC NOTES:
Track #9 on compilation album Friends: Passed & Present
COMPOSER: Lennon - McCartney
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: Paul Whistler [vocals]; Clair Bruce [B - 3 organ, piano]; Ed Neumann, Don Campbell [bass]; Paul JoneZ [drums, lead & slide guitar]; Tom Dimock ["plunky guitar" ]; Chris Carlson, D.K. Stewart [piano]
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
RECORDING ENGINEER: Ronn Chick
FORMAT: compact disc
DISC NOTES:
Track #10 on compilation album Friends: Passed & Present
COMPOSER: Paul Whistler
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: Newphew Jeff Jones [guitar]; Clair Bruce [keyboards]; Ron Hensel [alto sax]; Chris Mercer [tenor sax]; Don Campbell [bass]; Paul JoneZ [drums]
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
RECORDING ENGINEER: Ronn Chick
FORMAT: compact disc
DISC NOTES:
Track #12 on compilation album Friends: Past & Present
COMPOSER: Bramlette - Ousley
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: Pierre Oullette, Dave Maitland [guitars]; Al Kuzans [bass]; Clair Bruce [keyboards]; Chris Mercer [sax]; Paul JoneZ [drums]
RECORDING STUDIO: Dead Aunt Thelma's {DAT] Studio
RECORDING ENGINEER: Ronn Chick
FORMAT: compact disc
DISC NOTES:
Track #3 on compilation album Friends: Passed & Present
COMPOSER: Rich Dangle
MISC NOTES: LOCATION: Portland, OR RECORDING PERSONNEL: Paul Whistler [vocals, guitar]; Duffy Bishop [vocals]; Jim Mesi [pedal steel]; Paul JoneZ [drums] RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio RECORDING ENGINEER: Ronn Chick FORMAT: compact disc DISC NOTES: Track #13 on compilation album Friends: Passed & Present COMPOSER: Fredericks - Ross
MISC NOTES:
From the album "Burnin' " Criminal Records C-3306 (1988)
LOCATION: Portland, OR
RECORDING PERSONNEL: Paul deLay [vocals, harp]; Peter Damman [guitar]; John Bistline [bass]; Clair Bruce [organ]; Chris Mercer [horns]; Paul JoneZ [drums]
RECORDING STUDIO: Dead Aunt Thelma's [DAT} Studio
RECORDING ENGINEER: Ronn Chick
FORMAT: compact disc
DISC NOTES:
Track #14 on compilation album Friends: Passed & Present
COMPOSER: Mercer - Arlen
MISC NOTES:
From the album "First Offense" Criminal Records CR - CD17 (1988)
LOCATION: Portland, OR
RECORDING PERSONNEL: J.C. Rico [vocals]; Roth Patterson [guitar]; Ronn Chick [guitar]; Dave Kahl [bass]; Charlie Grant [keyboards]; Paul JoneZ [drums]
RECORDING STUDIO: Dead Aunt Thelma's {DAT] Studio
RECORDING ENGINEER: Ronn Chick
FORMAT: compact disc
DISC NOTES:
Track #15 on compilation album Friends: Passed & Present
COMPOSER: J.C. Rico
MISC NOTES:
From the album "Burnin' " Criminal Records CR - 3306 (1988)
LOCATION: Portland, OR
RECORDING PERSONNEL: Clair Bruce [vocals, keyboards]; Peter Damman [guitar]; John Bistline [bass]; Chris Mercer [horns]; Paul JoneZ [drums]
RECORDING STUDIO: Dead Aunt Thelma's [DAT} Studio
RECORDING ENGINEER: Ronn Chick
FORMAT: compact disc
DISC NOTES:
Track #16 on compilation album Friends: Passed & Present
COMPOSER: Raleigh - Taylor
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: Glenn Dutch [lead guitar, vocals]; Ty Titus [acoustic guitar]; Neal Grandstaff [flamenco guitar]; Roger Pyles [bass]; Ed Neumann [keyboards]; Paul Mazzio [trumpet]; Bobby Torres [conga drum]; Paul JoneZ [drums]; Saeda Wright [vocals]
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studop
RECORDING ENGINEER: Ronn Chick
FORMAT: compact disc
DISC NOTES:
Track #1 on compilation album Friends: Passed & Present
COMPOSER: Glenn Dutch
MISC NOTES:
Tracks:
1. Mean To Me (Glenn Dutch) - GLENN DUTCH
2. Still Want To Be Your Man (Eddie Hanson) - CARL JOINER
3. Big Slip (Rich Dangle) - PIERRE OULETTE/DAVE MAITLAND
4. Ring Of Fire (Kilgore - Cash) - JOE DOBROE
5. Fill Me Up (Linda Perry) - DUFFY BISHOP
6. I Love You Period (Don Baird) - JEFF PARRISH
7. Chica Boom (Cameron - Cameron) - DUFFY BISHOP
8. Feel Like Going Home ( Charlie Rich) - PAUL WHISTLER
9. I'll Cry Instead (Lennon - McCartney) - ROBB (&) ALBERT REDA, TERRY
10. Cheap Wine, Bad Reputation (Paul Whistler) - PAUL WHISTLER
11. Am I Blue (Akst - Clarke) - ROBB (&) ALBERT REDA, TERRY
12. Teasin' (Bramlett - Ousley) - JEFF JONES
13. Love Hurts (Fredericks - Ross) - PAUL WHISTLER
BONUS MEMORIAL TRACKS:
14. Blues In The Night (Mercer - Arlen) - PAUL deLAY
15. Sign Of The Times (J. C. RICO) - J. C. RICO
16. Handed Woman (Raleigh - Taylor) - CLAIR BRUCE
LOCATION: Portland, OR
RECORDING PERSONNEL: SEE INDIVIDUAL ARTIST LISTINGS
RECORDING STUDIO: Dead Aunt Thelmas (DAT) Studio
RECORDING ENGINEER: Ronn Chick
FORMAT: compact disc
DISC NOTES:
Modoc 2004 - 2012
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: Joe Dobroe [vocals, guitars]; D.K. Stewart [piano]; Julius McKee [bass tuba (Dirty Dozen Band, New Orleans)]; Joe McCarthy [trumpet]; Paul JoneZ [drums]; Paul Whistler [vocals]
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
RECORDING ENGINEER: Ronn Chick
FORMAT: compact disc
DISC NOTES:
Track #4 on compilation album Friends: Passed & Present
COMPOSER: Kilgore - Cash
MISC NOTES:
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FORMAT:disc
SIZE:7"
SPEED:45 rpm
DISC NOTES:Artist name on label is The Paul delay Band
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A-SIDE COMPOSER:Isbell, Floyd, Cropper
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B-SIDE COMPOSER:Billy Gayles
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FORMAT: compact disc
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MISC NOTES: Track #6 on the All My Friends Can Sing compilation LP
LOCATION: Portland, OR
RECORDING PERSONNEL: Curtis Salgado [vocals]; Dave Kahl [bass]; Janice Scoggins [piano]; Louis Pain [Hammond B3 organ]; Ron Hensesl [alto sax]; Rudy Draco [baritone sax]; Ron Morrell [trumpest]; Paul Jones [drums]; and Karyle Sloan, Laurie Redman & Donna Kolstad [vocals]
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
RECORDING ENGINEER: Ron Chick
FORMAT: compact disc
DISC NOTES:
PUBLISHER: Titus Turner, Cissi Music (BMI)
MISC NOTES:
Subtitled: A Tribute
According to producer/drummer Paul Jones the tribute was "to all that sang and to the original artists."
1. Baby, Let's Play House - STEVE BRADLEY
2. Criminal Groove - NORMAN SYLVESTER
3. Island, Island - JOHN KOONCE
4. Tracks Of Love - LLOYD JONES
5. Sittin' On Top Of The World - JOE DOBROE
6. My Soul's Got A Hole In It - CURTIS SALGDO
7. Nutbush - LILY WILDE
8. Come Back - MARK DuFRESNE
9. Everybody Knows [The River Song] - J.C. RICO
10. Congo Square - D.K. STEWART
11. Cold Duck Time - PAUL JONES
12. Keep Cool - MARK DuFRESNE
13. Walk On Water - J.C. RICO
LOCATION: Portland, OR
RECORDING PERSONNEL: See Individual Artist listings
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
FORMAT: compact disc
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: Norman Sylvester [vocals, guitar]; Jeff Jones [2nd guitar]; Dave Kahl [bass]; Clair Bruce [keyboards]; Ron Hensel [sax]; Paul Jones [drums]; Tina Martincic, Karyle Sloaln, LaRonda Johnson [female vocals]
RECORDING STUDIO: Dead Aunt Thelma's Studio [DAT]
RECORDING ENGINEER: Ron Chick
FORMAT: compact disc
DISC NOTES:
Track #2 on compilation album All My Friends Can Sing
PUBLISHER: Boogie Cat Productions (BMI)
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: Jon Koonce [vocals]; Paul Brainard [guitar]; Dave Kahl [bass]; Paul Jones [drums]; Clair Bruce [keyboards]; Suzanne Richards [steel drums]; Reinherdt Metz [timbales]; Bobby Torres [congas, Spanish]; Tina Martincic, Myrtle Brown [female vocals]
RECORDING STUDIO: Dead Aunt Thelma's Studio [DAT]
RECORDING ENGINEER: Ron Chick
FORMAT: compact disc
DISC NOTES:
Track #3 on compilation album All My Friends Can Sing
publISHER: Struggle Time Music (BMI)
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: Lloyd Jones [guitar, vocals]; Janice Scroggins [piano]; Dave Kahl [bass]; Paul Jones [drums]
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
RECORDING ENGINEER: Ron Chick
FORMAT: compact disc
DISC NOTES:
Track #4 pm compilation album All My Friends Can Sing
PUBLISHER: Struggle Time Music (BMI)
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: Joe Dobroe [guitar, vocals]; Ron Manfredo [bass]; Paul Jones [drums]
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
RECORDING ENGINEER: Ron Chick
FORMAT: compact disc
DISC NOTES:
Track #5 on compilation lp All My Friends Can Sing
PUBLISHER: Chester Burnett, Arc (BMI)
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: Steve Bradley [guitar, vocals]; Jim Mesi [guitar]; Allen Hunter [stand up bass]; Paul Jones [drums]
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
RECORDING ENGINEER: Ron Chick
FORMAT: disc
DISC NOTES:
Track #1 on compilation album All My Friends Can Sing
PUBLISHER: Arthur Gunther (BMI)
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: Mark DuFresne [vocals]; D.K. Stewart [piano]; Jeff Jones [guitar]; Dave Kahl [bass]; Clair Bruce [bass]; Ron Hensel [sax] Paul Jones [drums]; Charlie Grant, Dave Hoover, Clair Bruce [back up vocals]
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
RECORDING ENGINEER: Ron Chick
FORMAT: compact disc
DISC NOTES:
Track #8 on compilation album All My Friends Can Sing
PUBLISHER: M. Crayton - M. Garret (BMI)
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: Lily Wilde [vocals]; Roth Peterson [guitar]; Ron Chick [slide guitar]; Dave Kahl [bass]; Clair Bruce, Charlie Grant [keyboards]; Ron Hensel [sax]; Paul Jones [drums];
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
RECORDING ENGINEER: Ron Chick
FORMAT: disc
DISC NOTES:
Tranck #7 on compilation album All My Friends Can Sing
PUBLISHER: Tina Turner, Huh Corp. (BMI)
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: J.C. Rico [vocals]; Lloyd Jones, Jeff Jones [guitars]; Dave Kahl [bass]; Clair Bruce [keyboards]; Paul Jones [drums]; Tina Martincic, Karyle Sloan, LaRonda Johnson [female vocals]
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
RECORDING ENGINEER: Ron Chick
FORMAT: compact disc
DISC NOTES:
Track #9 on compilation album All My Friends Can Sing
PUBLISHER: M.J. Keep - Roosevelt Jamison
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: D. K. Stewart [keyboards, vocals]; Jim Mesi [guitar]; Don Campbell [bass]; Paul Jones [drums]; Ken Scandlyn [slide guitar]; Eric Donaldson [jungle tom]; Bobby Torres [conga solo]
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
RECORDING ENGINEER: Ron Chick
FORMAT: compact disc
DISC NOTES:
Track #10 on compilation album All My Friends Can Sing
PUBLISHER: Careers - BMG Music (BMI)
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: Paul Jones [vocals, drums]; Jeff Jones [guitar]; Craig Larsen [bass]; Clair Bruce [keyboards]; Ron Hensel [alto sax]; Bob Roden [tenor sax]; Rudy Draco [baritone sax]
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
RECORDING ENGINEER: Ron Chick
FORMAT: compact disc
DISC NOTES:
Track #11 on compilation album All My Friends Can Sing
PUBLISHER: Eddie Harris, Hargrove Music
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: Mark DuFresne [vocals, harp]; Jeff Jones [guitar]; Dave Kahl [bass]; Clair Bruce [keyboards]; Paul Jones [drums]; Tina Martincic, Karyle Sloan, LaRonda Johnson [female vocals]
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
RECORDING ENGINEER: Ron Chick
FORMAT: compact disc
DISC NOTES:
Track #13 on compilation album All My Friends Can Sing
PUBLISHER: Jerry Ragovoy, Ragmar (BMI)
MISC NOTES:
LOCATION: Portland, OR
RECORDING PERSONNEL: J.C. Rico [vocals]; Clair Bruce [keyboards]; Paul Jones [chimes]
RECORDING STUDIO: Dead Aunt Thelma's [DAT] Studio
RECORDING ENGINEER: Ron Chick
FORMAT: compact disc
DISC NOTES:
Track #13 on compilation album All My Friends Can Sing
PUBLISHER: M. Cohn, Museum Steps Music (ASCAP)
MISC NOTES:
LOCATION: Seattle, WA
RECORDING PERSONNEL: Paul deLay [vocals, harmonica]; Dave Stewart [vocals, Organo]; Jim Mesi [guitars]; Don Campbell [bass guitar]; Paul Jones [drums
RECORDING STUDIO: Alive Mobile Recording
RECORDING ENGINEER:
FORMAT: disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:
Side Two, Track #2 on Live At The Roadhouse compilation LP.
COMPOSER: Willie Dixon
PUBLISHER: Arc Music (BMI)
MISC NOTES:
Also released in compact disc format (Criminal Records #??)
Side One
1. Wrapped Up In Love Again (Albert King) - ISAAC SCOTT BAND
2. Same Old Blues (Isaac Scott) - ISAAC SCOTT BAND
3. I Don't Know (Gene Barge) - ISAAC SCOTT BAND
4. Doghouse Blues (Tom McFarland) - TOM McFARLAND
5. I am A Witness (Tom McFarland - TOM McFARLAND
Side Two
1 Nothing To Go On (Ted Taylor) - THE PAUL deLAY BAND
2. Tiger In Your Tank (Willie Dixon) - THE PAUL deLAY BAND
3. Who'll Be The Next (Chester Burnett) - THE PAUL deLAY BAND
4. Cryin' Won't Help You (Hudson Whitaker) - IN YO' FACE
5. Got To Find A Way (J. Jones) - IN YO' FACE
LOCATION: Seattle, WA
RECORDING PERSONNEL: See individual artist listings
RECORDING STUDIO: Alive Mobile Recording (February 12 - 15, 1984)
RECORDING ENGINEER:
FORMAT: disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:
A-SIDE MATRIX: S - 13214 - P -1 G - 1
B-SIDE MATRIX: S - 13214 - P - 1 G - 1
MISC NOTES:
LOCATION: Seattle, WA
RECORDING PERSONNEL: Isaac Scott [guitar, vocals]; Steve Bailey [vocals, harmonica, guitar]; Mark Oslund [guitar]; Anthony Thomas [bass guitar]; Rick Howell [drums]; Sadie Goodwin, Diane Copeland, Shirley Mann [background vocals]
RECORDING STUDIO: Alive Mobile Recording
RECORDING ENGINEER:
FORMAT: disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:
Artist name on disc = ISAAC SCOTT BAND
Side One, Track # 3 on compilation lp Live At The Roadhouse
COMPOSER: Gene Barge
PUBLISHER: Arc (BMI)
MISC NOTES:
Artist name on album jacket = Tom McFarland Blues Band
LOCATION: Seattle WA
RECORDING PERSONNEL: Tom McFarland [guitar, vocals]; J.W. Moore [drums]; Mark Dalton [bass guitar]; Perry Welsh [harmonica
RECORDING STUDIO: Alive Mobile Recordig
RECORDING ENGINEER:
FORMAT: disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:
Side One, Track #3 on compilation lp Live At The Roadhouse
COMPOSER: Tom McFarland
MISC NOTES:
LOCATION: Seattle, WA
RECORDING PERSONNEL: Tom McFarland [guitar, vocals]; J.W. Moore [drums]; Mark Dalton [bass guitar]; Perry Welsh [harmonica]
RECORDING STUDIO: Alive Mobile Recording
RECORDING ENGINEER:
FORMAT: disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:
Artist name on album jacket = Tom McFarland Blues Band
Side One, Track #5 on compilation lp Live At The Roadhouse
COMPOSER: Tom McFarland
MISC NOTES:
LOCATION: Seattle, WA
RECORDING PERSONNEL: Paul deLay [vocals, harmonica]; Dave Stewart [vocals, Organo]; Jim Mesi [guitars]; Don Campbell [bass guitar]; Paul Jones [drums]
RECORDING STUDIO: Alive Mobile Recording
RECORDING ENGINEER:
FORMAT: disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:
Side Two, Track #1 on Live At The Roadhouse compilation LP.
COMPOSER: Ted Taylor
PUBLISHER: Ronnat Music (BMI)
MISC NOTES:
LOCATION: Seattle, WA
RECORDING PERSONNEL: Paul deLay [vocals, harmonica]; Dave Stewart [vocals, Organo]; Jim Mesi [guitars]; Don Campbell [bass guitar]; Paul Jones [drums]
RECORDING STUDIO: Alive Mobile Recording
RECORDING ENGINEER:
FORMAT: disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:
Side Two, Track #4 on compilation lp Live At The Roadhouse
COMPOSER: Chester Burnett
PUBLISHER: Arc Music (BMI)
MISC NOTES: Artist credit on album jacket = CURTIS SALGADO & IN YO' FACE. Side Two, Track #5 on the Live At The Roadhouse compilation LP
LOCATION: Seattle, WA
RECORDING PERSONNEL: Curtis Salgado [vocals, harmonica]; Lloyd Jones [vocals, guitar]; Joel Foy [guitar]; Eddy Campy [bass guitar]; John Moore [drums]
RECORDING STUDIO: Alive Mobile Recording
RECORDING ENGINEER:
FORMAT: disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:
COMPOSER: J. Jones
PUBLISHER: Vapac Pub. (BMI)
MISC NOTES:
Side One
l. Mine All Mine (Paul deLay Band)
2. Harpoon Man (McCoy - Slanbridge - Butler - Wilburn)
3. Get Yourself Another Fool (Tucker - Heywood)
4. Heartbreaker (Nugretre)
5. Cry To Me (Russell)
6. Sho' Miss You Baby (Cook - Lyons)
7. Don't Drink (Fatman Jackson)
Side Two
l. Signed, Sealed And Delivered (Copas - Mann)
2. Turn Your Light Down Low [Open Up The Back Door] (Baker)
3. Rode Myself Crazy (Pail deLay)
4. Comin' Down With The Blues (Barry - Covay)
5. (Baby, Baby) Everynight (Roe - Townsend - Johnson)
6. This Ol' Life (Miller)
LOCATION: Portland, OR
RECORDING PERSONNEL: Paul deLay [ vocals, harmonica]; James Mesi [guitar, background vocals]; David Stewart [ piano, organ, vocals]; Paul Jones [drums, percussion]; Donald Campbell [bass, vocals, percussion]; Danny "Reed" Schauffler [horns]
RECORDING STUDIO: Recording Associates
RECORDING ENGINEER: Bob Stoutenburg
FORMAT: disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:
A-SIDE MATRIX:
A-SIDE STAMPER CODE:
B-SIDE MATRIX:
B-SIDE STAMPER CODE:
MISC NOTES: "4 Of The Northwest's Finest R&B Stars - Captured Live." Ten-song album featuring four Northwest blues bands:
- Isaac Scott Band
- Tom McFarland Blues band
- Paul deLay Band
- Curtis Salgado & In Yo' Face
LOCATION: Seattle
RECORDING PERSONNEL:
RECORDING STUDIO: Recorded live at the Jolly Roger Roadhouse on February 12-15, 1984.
RECORDING ENGINEER: Bruce Buckner; producer: Michael Lynch
FORMAT: disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:
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A-SIDE PUBLISHER:
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B-SIDE PUBLISHER:
MISC NOTES: Artist credit on album jacket = CURTIS SALGADO & IN YO' FACE. Side Two, Track #4 on the Live At The Roadhouse compilation LP.
LOCATION: Seattle, WA
RECORDING PERSONNEL: Curtis Salgado [vocals, harmonica]; Lloyd Jones [vocals, guitar]; Joel Foy [guitar]; Eddy Campy [bass guitar]; John Moore [drums]
RECORDING STUDIO: Alive Mobile Recording
RECORDING ENGINEER:
FORMAT: disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:
COMPOSER: Hudson Whitaker
PUBLISHER: (ASCAP)
MISC NOTES: Side One, Track #2 on Live At The Roadhouse compilation LP. Artist credit on disc = ISAAC SCOTT BAND
LOCATION: Seattle, WA
RECORDING PERSONNEL: Isaac Scott [guitar, vocals]; Steve Bailey [vocals, harmonica, guitar]; Mark Oslund [guitar]; Anthony Thomas [bass guitar]; Rick Howell [drums]
RECORDING STUDIO: Alive Mobile Recording
RECORDING ENGINEER:
FORMAT: disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:
COMPOSER: Isaac Scott
MISC NOTES: Side One, Track #1 on Live At The Roadhouse compilation LP. Artist name on disc = ISAAC SCOTT BAND
LOCATION: Seattle, WA
RECORDING PERSONNEL: Isaac Scott [guitar, vocals]; Steve Bailey [vocals, harmonica, guitar]; Mark Oslund [guitar]; Anthony Thomas [bass guitar]; Rick Howell [drums]
RECORDING STUDIO: Alive Mobile Recording
RECORDING ENGINEER:
FORMAT: disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:
COMPOSER: Albert King
pUBLISHER: East Memphis (BMI)
MISC NOTES:
1982. Issued on CIS Northwest. #305.
LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:
FORMAT: disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:
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MISC NOTES:
LOCATION: Ketchum , ID.
RECORDING PERSONNEL: Paul deLay (harmonica, vocals); James Mesi (guitar); Clair Bruce (Keyboards); Donald Campbell (bass); Paul Jones (drums).
RECORDING STUDIO: Sun valley Audio
RECORDING ENGINEER: Randy Young
FORMAT: disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:
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MISC NOTES:
LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:
FORMAT: disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:
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MISC NOTES:
Good Evening Side
1. I'm Gonna Stop (D. Malone)
2. You Can Make It If You Try (J. Jarrett)
3. Tighten Up (J. Young)
4. Life Is Too Short (E. Hale)
5. Lost In A Dream (Wayman - Glasco)
Good Night Side
1. Blues In The Night (J. Mercer - H. Alllen)
2. Three-Handed Woman (Raleigh - Taylor)
3. I Take What I Want ((Porter - Hayes - Hodges)
4. I Can't Stop (P. deLay)
5. Buzz Me (F. Moore - D. Baxter)
6. Paul Train (P. deLay)
LOCATION: Seattle, WA (lilve) / Portland,OR
RECORDING PERSONNEL: "Specs" Mercer [baritone sax]; Paul Jones [drums]; Chris Mercer [2nd tenor]; John Bistline [bass]; Clair Bruce [keyboards, vocals]; Peter Dammann [guitar], "Willie" Mercer [3rd alto], "Vinnie" Mercer [lst alto]; Paul deLay [harmonica, vocals]
RECORDING STUDIO: ????? September, l987 / Falcon Studio Oct.-Sept, 1987
RECORDING ENGINEER: David Lohr
FORMAT: disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:
A-SIDE MATRIX: S - 19143
B-SIDE MATRIX: S - 19144
MISC NOTES:
Side One:
1.) I Can't Quit You No
2.) No Use Worryin'
3.) What's The Big Idea?
4.) I Missed You Bad
5.) Prisoner's Song
6.) Lou's Blues
Side Two:
1.) Just This One
2.) Beggin' Megan
3.) I Want The Man Gone
4.) You Ain't Got No Heart
5.) Don't Feel Nothin
LOCATION:
RECORDING PERSONNEL:
RECORDING STUDIO:
RECORDING ENGINEER:
FORMAT: cassette
NOTES: *
MISC NOTES:
Non-photo pen and ink artwork 'POLITICO" picture sleeve with song lyrics
LOCATION:
RECORDING PERSONNEL: Terry Censky [machine gun drums, bass, guitars, organ, orchestrator]; Patrick Burke [guitar, organs, bass, synthesizer, lyrical enhancement
RECORDING STUDIO:
RECORDING ENGINEER:
FORMAT: disc
SIZE: 7"
SPEED: 45 rpm
DISC NOTES:
A-SIDE MATRIX:
A-SIDE STAMPER CODE: c99 96 x 03 - A (etched)
A-SIDE COMPOSER: Censky - Burke
A-SIDE PUBLISHER:
B-SIDE MATRIX:
B-SIDE STAMPER CODE: z99 96 - 03 - B (etched)
B-SIDE COMPOSER: Censky - Burke
B-SIDE PUBLISHER:
MISC NOTES:
Side A
1. It's So Easy [Bein' In Love With You (Tom Miles)
2. Nothin' Really Matters On Mondays (Tom Miles)
3. Pour Me Another Memory (J. Durrill - J. Cunningham)
Side B
1. I Can't Stand The Thought [Of Losing You] (Tom Miles)
2, Your Memory [It's Slowly Killing Me] (Tom Miles
3. Do You (S. Dorff - A. Roberts - T. Schafer)
LOCATION: Portland, OR
RECORDING PERSONNEL: (On one or more tracks) Tom Miles [acoustic piano,synthesizeres, lead and background vocals]; Streamer Adams [guitar]; Craig Hutchins [ guitar]; Joe Milward [acoustic piano]; David O'Brian , Greg Williams [drums]; Ron Hansen [bass]; Mike Klinger [synthesizer]; Susan Linn, Margaret Linn, Mary Linn [background vocals]
RECORDING STUDIO: Rex Recording Co.
RECORDING ENGINEER: Russ Gorsline, Richard Moore
FORMAT:disc
SIZE: 12"
SPEED: 33 1/3 rpm
DISC NOTES:
A-SIDE MATRIX: RL - 5190 - A L - 26264
B-SIDE MATRIX: RL - 5790 - B L - 26264 - X