Tacoma’s Ventures. They’ve lasted almost 60 years in one form or another. They’ve released over 250 albums. They’ve sold over 120 million records….more than any other instrumental band in history. Those records are unlikely to ever be topped by an instrumental band of any genre. During their career they’ve covered just about every kind of music there is. Most of their albums are largely covers of popular songs, but surprisingly they write about one third of their music. They helped develop the “surf sound” although they point out they didn’t invent it, and don’t consider themselves a “surf band” at all. In a 2015 interview with Forbes magazine co-founder Don Wilson told interviewer Jim Clash;
“One of our biggest sellers was a surfing album. I guess we got tagged with that – Pipeline and Wipe Out we are associated with – so suddenly we are a surf rock band! I see that written a lot. But I don’t care. I’m used to it. We’re not just surf”.
Band members have always denied their music being founded in the surf sound, but it’s certain The Ventures had a profound affect on it. It could be they’ve always refused to be labeled surf just as much out of deference to the artists who truly are surf bands as much as the facts. It’s also true that The Ventures went far beyond any one genre-expect being instrumental. They’ve also maintained keeping current with putting their sound to current music. Aside from their top-knotch playing it is these two other factors that have kept them in the world’ public eye for decades.
The story of The Ventures goes back to the day that Bob Bogle first met Don Wilson in 1958. Bogle was looking to buy a used car from a dealership in Seattle. The car lot was owned by Wilson’s father. Don was the salesman. During their conversation, they found out they both had an interest in music. They became fast friends, and soon Wilson began working with Bogle in the masonry field. Obviously carrying mortar and bricks was more lucrative than hawking used cars for small commissions. In 2009 Bob Bogle told The Seattle Times:
“And then we found out that we each knew a few chords on the guitar, you know, and we had a lot of free time on our hands. But neither of us … Read more›
By the time the mid-60s had come around The Northwest Sound has pretty much wound down. Many former teen-dance bands were moving closer to rock and the new psychedelic sounds coming out of L.A. and San Francisco. In some ways many local artists had begun to see Seattle as a northern outpost of San Francisco.
One of the bands that emerged in the mid-60s was Blues Interchange. David Lanz (future star of “new age” music) had been one of the band’s first members. The band began making the rounds of Seattle venues and became very popular with the tripped-out psychedelic crowd. Due to some of the members being drafted local boy Jeff Simmons signed on as bassist in 1967. Simmons was already an accomplished player with a gregarious, often comedic air about him Other members included Al Malosky on drums and guitarists Peter Larson (later replaced by Burke Wallace), and Danny Hoefer. Danny Hoefer would later go on to play in Tower of Power.
After the change of personnel, Blues Interchange found even more favor with Northwest audiences. One result of the changes was re-naming the band to Easy Chair. The transformation caught the eye of Seattle’s emerging rock scene as well as other pockets of psychedelic blues around the country
In 2014 the website Clear Spot would look back on Easy Chair, writing;
“Their epic West Coast blues features the unique chemistry of psychedelic guitar leads, fluid lines and hypnotic chording”.
Around this time the band was emerging they met up with notorious San Francisco manager Matthew Katz. Katz had been the first manager of Jefferson Airplane and had ben fired even before the release of their first album, Jefferson Airplane Takes Off. Seattle native Signe Anderson (September 15, 1941-January 28, 2016) did vocals, but soon left the band, handing over the task to Grace Slick. The firing of Katz would result in ongoing litigation over the release of original or licensed material by Jefferson Airplane. The litigation between Katz and Jefferson Airplane was not settled until 1987.
Katz was also involved in a dispute with Moby Grape beginning in 1968. Katz had sold the group members’ rights to their songs as well as their own name were signed away in 1973 to manager/producer David Rubinson without the band members knowing it. He retained rights to the name Moby Grape and a large part … Read more›
Not surprisingly the bands of the 1950s and 60s that would define The Northwest Sound was mostly a boys game. There had been women who’d made it in their own right –Bonnie Guitar comes to mind- but even she was closer to country than the newer sounds. Bea Smith had made her name in rockabilly but The NorthwestSound relied on a hybrid of R&B and jazz. In fact most of the successful women performing were either coming out of rockabilly, hillbilly music or singing blues and early R&B among the many black venues surrounding Jackson St. Of course many of these clubs were avoided by whites, and those teenagers wanting to hear the real deal dare not venture into many of the mostly-black bottle clubs and dens of gambling and prostitution that some rightly were known as. Police raids were common along Jackson Street and door men were careful not to give entry to the kids that may be cause for even more raids. The musicians who had come to play R&B were the exception to the rule. Their fans may have been frightened off by what was collectively known as the (primarily black) Jackson St. Scene. The Birdland, The Ubangi Club, The House of Entertainment and especially The Black and Tan (which was largely integrated by the late 50s) were all clubs that attracted the young white practitioners of teen-dance R&B.
Very few of the early Northwest Sound bands ventured into vocals or women in general. This wasn’t a purposeful lock-out of women. It was out of popular demand. Audiences didn’t mind instrumentals, they simply wanted to dance. Girl Groups from across the nation were seen as a novelty acts. Very few bands had fully-fledged female members of their bands. There were exceptions, but this was mostly the face of the Northwest Sound during the mid-late 1950s. Enter The Fleetwoods.
Artist, label owner and producer Bonnie Guitar and her business partner Bob Reisdorff of Dolphin Records (soon to be re-christened as Dolton Records had taken note of the Olympia trio (Gary Troxel, Gretchen Christopher, and Barbara Ellis). The band did not fit into the girl group mold, nor was it the kind of rollicking R&B Northwest fans were used to… but Bonnie and Bob’s belief in The Fleetwoods and their signing them paid off in droves. The first two releases by The Fleetwoods rose … Read more›
Since it’s formation in 1973 the Total Experience Gospel Choir has travelled the nation and across the globe, from the Far East to Europe to Russia and a lot of places in between. Under the tutelage of Pastor Pat Wright, the Total Experience Gospel Choir has journeyed to Japan where they not only presented their ministry through song, but also delivered supplies to victims of the Tōhoku Earthquake and Tsunami who had taken refuge in Ishinomaki, Japan. In 2006 the Total Experience Gospel Choir also travelled to Texas, Louisiana, and Mississippi to help victims of Hurricane Katrina and to rebuild and refurbish homes for hurricane victims in Gulfport, Mississippi.
Pat Wright was honored for her and the choir’s efforts by ABC News World News Tonight. In May of 2007 she was named one of that month’s Person of the Week, and later in a broadcast on December 27 2007, Pat was declared one of 2007’s “Persons of the Year”. It’s clear that the choir is not only one of the Northwest’s greatest musical assets, they spread their ministry through music, and actual, on-the-ground help.
Aside from performing for President Bill Clinton and President Obama, the Total Experience Gospel Choir have been featured at prestigious venues from the Sydney Opera House to The Mormon Tabernacle. Even though they’ve been ambassadors around the world, and won many prestigious awards, it’s clear the Pastor Wright’s greatest mission is to the uplifting of her own community, here in Seattle.
Pat Wright was born Patrinell Staten in Odessa Texas as one of eight children. Her father was a Baptist preacher and her mother taught school. Both parents urged her to pursue a career in gospel music. Having started to sing at an early age, Pat performed her first solo at the age of 3 and by the time she was 14 Pat had taught herself to play piano and was directing two choirs in her father’s church. Her parents saw to it Pat grew up in the church, but education also played an important part in her upbringing. Pat graduated as valedictorian of her high school class (Turner High School, 1961) and later attended Prairie View A&M College just north of Houston TX.
Pat first arrived in Seattle in October of 1964 to help her sister, who was then going through a divorce. Her intention was to be of assistance to … Read more›
By the mid-60’s Seattle’s once thriving R&B teen dance bands were on the wane. Members of outfits like the Dynamics, The Viceroys and the Frantics were eagerly tapping into the first stirrings of the underground psychedelic movement. Most of the bands making the transformation were not doing it for purely mercenary reasons. Many players had simply aged and evolved, while remaining true to their R&B and garage-like beginnings. Many of the psychedelic bands coming out of Seattle still held onto an insular, regional sound that favored hippie-ballads and gentle horns, reeds and the organ that had become a staple of Northwest rock since Dave Lewis They favored a more tie-dyed approach rather than the aggressive guitars and overtly political or socially conscious lyrics of bands like The Jefferson Airplane, The Doors or Quicksilver Messenger Service.
They also lacked the lush production (and sometimes anti-production) of bands coming out of New York City. If there is a word that describes the Northwest psychedelic sound it could very well be “comfortable”…not in the passive sense, but in the sense that gentler, more flower-powered sounds were being made. Perhaps the exception to this rule was The Frantics who’s remaining members moved to San Francisco, renamed themselves the hippiesque Luminous Marsh Gas eventually to become one of the mightiest bands of the psychedelic era-Moby Grape.
Crome Syrcus was no different than many other NW bands. The had arisen from the ashes of a teen R&B, jazz influenced outfit called The Mystics. The Mystics had an enthusiastic fan base and were able to tour regionally, but ultimately had a relatively short career. By 1962 drummer Jim Plano had joined the military. Dick Powell, the band’s vocalist and guitarist John Gaborit remained stateside, and eventually brought on bassist Lee Graham and keyboard player Ted Shreffler. Jim Plano’s position as drummer was filled by Rod Pilloud. Once assembled, the new band christened themselves Crome Syrcus.
Soon the band was finding regular gigs on the nascent psychedelic circuit in Seattle. Their distinctive sound often relied on two keyboards played by both Powell and Shreffler. John Chambless, the coordinator of the Berkeley Folk Festival had seen Crome Syrcus at The Eagles Auditorium (it’s unclear who the headliner was that night). He quickly booked them to his event and on July 2nd 1968 Crome Syrcus played their first Bay Area gig. In fact Crome … Read more›
Who would have thought that a kid from Olympia WA would become one of the architects of country music’s Bakersfield Sound? Don Eugene Ulrich was born in Washington’s state Capitol on August 15, 1941, and grew up in the adjacent town, Tumwater WA. He was the adopted son of Bill and Anne Ulrich and went by that name as a youth but later would later shorten his last name to Rich. Don’s parents encouraged him to play music, going so far as to giving him a home-made violin to play at the tender age of three. Ulrich was a musical child prodigy and learned the fiddle in short order and soon after picked up a guitar, also becoming proficient at the instrument in a short time. Don’s parents were confident enough of his skill that they entered him in a series of local talent and variety shows.
By the age of 16 Rich had opened for a matinee performance by Elvis Presley (September 1, 1957) at Tacoma’s Lincoln Bowl. Lincoln Bowl was an amphitheater adjacent to Lincoln High School overlooking Puget Sound. Since Presley’s performance took place next to Lincoln High School the show saw the amphitheater full of screaming teens.
During his last year of High School Don Rich had started playing his fiddle around the south Puget Sound region as well as forming a rock and roll band called the Blue Comets with drummer Greg Hawkins and pianist Steve Anderson. But Don’s love was closer to country and folk than rock and roll so he continued playing gigs as a fiddler. One of those gigs was at Tacoma’s Steve’s Gay ‘90s, where he would catch his first break-one that would change his life forever. . At the time former Bakerfield musician Buck Owens was doing a stint at Tacoma radio station KAYE. Rich was at Steve’s Gay ‘90s when Buck Owens walked in one night in 1958. Owens, a fiddler in his own right, had already seen Rich on fiddle, and was taken by Rich’s talent almost immediately. After their first meeting they soon became great friends and collaborators. Don would join Owen’s band that played around Tacoma and Seattle. Owens had been a radio personality, so when Rich joined-up with Owen’s he found himself doing a weekly spot on KTNT-TV 11’s BAR-K Jamboree. The show also has the distinction of introducing Loretta Lynn … Read more›
On March 25, 1923 Bonnie Buckingham was born in Seattle WA. As a youn child she was raised in Redondo Beach, a small community about 30 miles south of Seattle. Her family were farmers who were able to weather the depression, unlike many of those in the Midwest who’s crops had been decimated by dustbowl storms and drought. It was a bit later that the Buckingham family moved a short distance to Auburn WA and continued farming. Growing up Bonnie had a fascination with the family guitar, and took every chance she could to take it from it’s hiding place to practice when her parents were away. Her mother had told her that “guitars were for boys”. But Bonnie persisted learning what she could. She recalls regularly climbing trees and pretending they were broadcast towers and she was sending out signals of her miusic to the entire world.
Apparently her parent’s disapproval of girl’s playing guitars did not last long. By the age of 13 she had inherited her two older brothers’ flat top guitar and was appearing at talent shows throughout the Puget Sound region while gaining wider reception. During this period she took on her first stage name-Bonnie Lane. She also began tutoring by local musicians. At the age 16 she was allowed to tour the NW with a country revue and for the next several years she developed her skill at the guitar as well as finding her voice.
Eventually she began travelling to Seattle to be tutored by some of the best players in the city, including Paul Tutmarc. Not only did Bonnie receive lessons, she began to make recordings with Tutmarc in his primitive studio on Pine Street. Tutmarc was 27 years older than Bonnie, but their work had brought them close together. In 1943 Tutmarc divorced his first wife and married Bonnie the following year. They juggled their married and professional lives, along with caring for their daughter Paula (born in 1950) for the next few years, doing Seattle gigs as a duo and finally joining a well-known NW country outfit called the K-6 Wranglers as with a local country outfit called but the couple divorced in 1955, before Bonnie’s wider success.
Around this time Bonnie took on the name she would always be known as- Bonnie Guitar. Bonnie recalls that one day a songwriter approached her with a few songs he wanted her … Read more›
Ballin’ Jack was formed in Seattle by former childhood friends Luther Rabb and Ronnie Hammon. Both of them had gone to school with and been friends with Jimi Hendrix at the city’s Garfield High School. In the early 60s Luther Rabb played around the NW with several moderately successful outfits on the teen and R&B circuits. He had even played saxophonist alongside Jimi Hendrix’s in The Velvetones, the first band Hendrix had been involved in. Ronnie Hammon was a drummer who’d also backed a few Seattle bands-none of them particularly notable. In 1967 Rabb and Hammon decided to form their own band. Rabb, a multi-accomplished musician would leave the saxophone behind and switch to bass guitar. Hammon continued drumming, thus forming a strong rhythm section. Almost immeadiately they added Jim Coile on flute and Tim McFarland on trombone. A bit later Jim Walters would come onboard as their saxophonist and Glen Thomas providing the lead guitar. The name Ballin’ Jack has obscure origins. It could be based on “Ballin’ the Jack” a 1913 song written by Jim Burris and Chris Smith. It could refer to the and the ensuing dance that became popularized by the song. The expression “Ballin’ the Jack” also has ties to railroad workers who used the expression “to go full speed”. But the band’s use of the shortened expression probably was chosen for one of two other reasons. Sometimes the term “ballin’ the jack” implied having a great time. There’s certainly enough examples of the expression being used in film, on Broadway and popular music….but sometime the meaning was (literally) deep, full-on sex. Blues great Big Bill Broonzy sang in “Feel So Good”
My baby’s coming home
I hope that she won’t fail because I feel so good, I feel so good.
You know I feel so good, feel like balling the jack
As Bessie Smith sang in “Baby Doll” in 1926,
He can be ugly, he can be black
So long as he can eagle rock and ball the jack
There’s several ways to interpret the term, but “ballin the jack” was an expression often used in jazz and blues circles to mean deep, full and fast sex. It may be this veiled, slang reference is the meaning the band intended their name to represent.
Ballin’ Jack found themselves moving to Los Angeles, living in a large … Read more›
Any live-music lover who’s lived in Seattle long enough has seen Red Dress. In fact, it’s likely their parents-or grandparents have seen the band play. Red Dress might be the longest-running show in the Northwest. Throughout their career they’ve attracted punk rockers, hippies, drunks, blues aficionados, art-rockers, probably a few metal heads and everyone in between. Despite their long-running history, the band are still one of the most creative and relevant bands working the clubs, bars and festivals in and around Seattle. They do what they do better than anyone else; they always have. Red Dress infuse absurdity with the pure joy of funk, jazz and R&B. The result is far from what one would expect from looking at it on paper. This isn’t a retread of the typical whitebread tribute to a style long out of date. This isn’t a goofy pastiche of kitsch and nostalgia. This is as real and original as things get. Producer Conrad Uno Producer Conrad Uno (Love Battery, Young Fresh Fellows, The Presidents of the United States of America, etc.) hit the nail on the head when he described Red Dress as “Captain Beefheart meets James Brown.” Minkler himself confirms that when he heard Captain Beefheart’s seminal Trout Mask Replica everything changed
Red Dress has always been a band of solid, professional musicians. Orignally formed with Minkler’s high school friend Rich Riggins in 1976. The duo explored jazz, contemporary classical music, and of course the blossoming punk rock scene. Eventually Riggins left the band-taking with him the poet/singer/performance artist Cynthia Genser. Minkler would man the more and more funky and soulful Red Dress, while Riggins and Genser went on to found Chinas Comidas, a band that also found an important place within the city’s alternative music community. In fact, it wasn’t unusual to find Red Dress and Chinas Comidas on the same bills in the late 1970s and early 80s. The stylistic, musical and lyrical content of those on the punk/alternative scene meant little in those days. Seattle had a very tight-knit community that was too interested in innovation to face off in differing camps.
Over the years more than a few have wandered in and out of the band. But the songwriting has been consistently impeccable and the players pitch-perfect. But there’s no getting around it. This is a band dominated by the talent and presence of vocalist Gary Minkler, and … Read more›
During the early to mid 1980s The Refuzors were A-list Seattle punk rockers. They were one of the best live bands around. Uncompromising, edgy and raw. They could have been lumped in with alot of hardcore bands from that era but for one thing. The songwriting, mostly by guitarist and vocalist Mike Refuzor set them far ahead of other great hardcore Seattle bands. And they were always unexpectedly fun. The Refuzors started out as a trio, and it’s probably their original line-up or Mike Refuzor (Mike Lambert) Bass and Vocals, Danny Refuzor (Danny Barton) on guitar and Roach Refuzor Dan Bradshaw) on drums that is most memorable. Other incarnations included Ward Refuzor (Ward Nelson) on guitar, Al Dams, Mike Purdon on bass and Renee Refuzor (Renee Vazquez) doing some of the vocals.
The Refuzors were good at creating controversy-but some of it was also the cause of the press. In a revew of the band local rock critic (at the time) printed her views of The Refuzors (and Mike specifically) of being neo-Nazi, white supremecists and fascists. The comments were made in the widely read but now defunct Seattle Post-Intelligencer. Her pronouncement wasn’t based on the lyrics or outward signs of Nazism. The Refuzors never associated themselves with the neo-Nazi or white supremacist movements. Hackett based her opinon on their dress; the all black, all leather uniform that many punks adhered to in the early 1980s. The result of the public accusation led Mike to write one of his best songs, “White Power”. And of course, once more the media went wild. How could any major band write such a song?
The fact is the song’s lyrics make clear that they did NOT support white supremacy. The lyrics start:
People may say things about me.
Some of them things are true, some are lies
With the power of the press you labeled me a Nazi
I bet you can’t even look me in the eyes
Later in the chorus Mike sings;
I never said White Power
I never said White Power to you
I’m sayin’ it now
You put those words in my mouth…
A studio version of the song was included on the near-legendary “Seattle Syndrome” compilation, but it seems as of this writing there are only very poorly recorded live versions of the song available on the internet. Aside from the inclusion on The Seattle Syndrome … Read more›
Gary Heffern began his career the late 70’s singing with San Diego punk band The Penetrators alongside Country Dick Montana. Heffern’s done poetry readings with everyone from John Doe, to Nina Hagen, The Art Ensemble of Chicago and Henry Rollins. His first two solo albums ‘Bald Tires in the Rain’ and ‘Painful Days’ have featured some of the incredible cadre of his admirers. John Doe, Mojo Nixon, Country Dick Montana, The Walkabouts, Eddie Vedder of Pearl Jam and Mark Arm of Mudhoney.
Heffern spent a good part of his career as part of the Seattle music scene, but his muse has taken him to Finland, living near the Arctic Circle where an incredible video of his song ‘La La Land’ was shot in 2008. It’s an epic, sad, beautiful, and reflective observation of the fading away of a parent…It’s touching without ever slipping into the sentimentality one would expect.
His album “Consolation” featured a who’s who of American roots music; Steve Berlin of Los Lobos, Alejandro Escovedo, Peter Case, Mark Lanegan, Scott McCaughey (Young Fresh Fellows/R.E.M.) Chris and Carla of The Walkabouts, Jim Roth from ‘Built to Spill‘, and on and on. The depth and breadth of Heffern’s friends and admirers who join him on Consolation and currently as “Gary Heffern And The Beautiful People” and is a continuing testament to his position as an important songwriter whose work rises to the top of the heap.
Seattle rock critic and well-known author Charles R. Cross writes:”In Heffern’s own songs there is a constant struggle between darkness and light, between failed dreams and reckless prayer, between a world where all hope is lost and one where a consoling friend offers a sliver of deliverance. Even on a song as haunting as “(I Am Your) Destroyer” from the album “Consulation” sounds like Iggy Pop could have written it. There is still a core of sweetness among the ruins. “That’s the Beauty (Of the Little Things in Life)” truly rings with a ghost: It was written in Seattle’s Comet Tavern on the very night that Gits’ singer Mia Zapata went missing (and later turned up murdered). Not only a remarkable timepiece, “That’s the Beauty” demonstrates Heffern’s skill at creating a story arc that celebrates the fragility of life at the same time it bemoans it. It’s the kind of re-framing that is uniquely Gary Heffern”.
Aside from his songwriting, albums. online music and … Read more›