Northwest Music History: Garage Rock

Gail Harris, The Fabulous Wailers and Spanish Castle Magic

Gail Harris was a seasoned pro by the time she first appeared with Tacoma’s Fabulous Wailers at the age of 13.  By 1959 Tacoma’s Fabulous Wailers had made it as a regional powerhouse as well as made their national mark.  Their first single, the instrumental “Tall Cool One” b/w Roadrunner (released in June of 1959) had made the Billboard charts at number 36. Shortly after “Long Cool One” fell off the charts the band released a second single, Mau-Mau b/w Dirty Robber. (August 1959). They’d made an appearance on Dick Clark’s American Bandstand and on The Allen Freed Show, and done a tour of the East Coast.

In December of 1959 Golden Crest  released an album to capitalize on their success.  The album was simply named ‘The Fabulous Wailers”. Golden Crest was eager to have the band relocate to New York City, but the band declined (probably under orders of their parents) and returned to the Northwest.  Golden Crest soon lost interest in promoting them even though they were still under contract with the label. Golden Crest would eventually drop them but their contract would, for the immediate future create some problems.

Shortly after returning to the Northwest the band took on a new singer and frontman,”Rockin’ RobinRoberts (Lawrence Fewell Roberts II). Roberts had previously worked with another Tacoma band, ‘Little Bill and The Bluenotes”. Along with Rockin’ Robin” Roberts came dissension. Roberts had pushed for a souped-up version of a song written in 1956 by  Richard Berry. The song  Roberts was pushing  for, Louie Louie  was originally inspired by the song “El Loco Cha Cha” written by Cuban-American René Touzet.  It had been a popular song performed live in the 1950s by Ricky Rillera and the Rhythm Rockers in Southern California while Berry was sitting in with The Rhythm Rockers for some time before he created Louie Louie around the “El Loco’s” lead riff.  Berry later said;

“I took some Latin, some calypso, some pop, threw it all in and came up with ‘Louie Louie’.

It was decided in order to get by The Wailers’ contract with the now disinterested Golden Crest, Louie Louie would be released under the artist name “Rockin’ Robin” Roberts even though the recording would actually be recorded by The Wailers.  Buck Ormsby has claimed that Gail Harris also took part of The Wailers final arrangement of Louie Louie.  The band rightly assumed that listeners and DJ’s would know the song was actually The Wailers despite whoever the label said the artist was. However this didn’t set well with guitarist John Greek and he was promptly dismissed by The Wailers and replaced by John “Buck” Ormsby, another recent member of The Bluenotes.  Buck Ormsby has also credited Gail Harris in helping arrange Louie Louie

The band had a plan for how they should move forward, but without a record label no one believed they could succeed, and would probably fall into oblivion. During a meeting in late summer of 1960 the band came up with a solution. The band would form their own label and self-release their records.  Although thousands of small labels were  thriving throughout the US, not many actually belonged to the bands themselves.  Not every one of The Wailers could afford to take part in the scheme so Ormsby, Roberts and  Morrill financed this very risky project in an equal partnership. They chose the name Etiquette.

The Wailers had begun as an instrumental band (like many of the original NW Sound artists) but with the addition of Rockin’ Robin Roberts they set out to imitate the R&B “revues” that were popular at the time…one band backing several featured singers.  Obviously the main attraction was “Rockin’ Robin” but soon the band added a “girl singer” from Puyallup, Gail Harris.  Harris had appeared on The Bar-Kay Jamboree, a weeky show hosted by Buck Owens  and aired simultaneously on radio KAYE and KTNT TV.  Buck’s regular band (The Bar-K Gang) included Don Rich who would become Owen’s best friend and one of the architects of the Bakersfield Sound, Dusty Rhodes and a young guitarist named Nokie Edwards.  Gail Harris was a regular guest. Some of the Bar-K’s other guests included Don Wilson and Bob Bogle (then known as The Versatones) Nancy Claire, who would become the most sought-after guest singer in the Northwest, and Loretta Lynn in her first television appearances.  Later Nokie Edwards would leave Buck’s band and join Don Wilson and Bob Bogle to form The Ventures.  Zero Records would find Lynn through Buck’s show and release Loretta’s first hit, “Whispering Sea” b/w“I’m a Honky Tonk Girl” in March of 1960. “Whispering Sea” didn’t get much traction, but the b-side “I’m A Honky Tonk Girl” hit number 14 in the country charts, and as they say,  Loretta became an overnight success after years of hard work in postage stamp sized venues, and travelling and sleeping in the car with her husband , Oliver “Doolittle” Lynn.  They tried to hit every radio station and every interview they could find.  Much of her eventual success came down to selling her record out of the back of their car.

Buck Owens wanted Gail Harris to become a regular member of his “gang” but Harris’s first love was R&B and she was already pursuing her dreams diligently practicing her favorite R&B artists and honing her stage presence at home.  From the beginning of her 2-3 year stint with The Wailers she must have blown the bobby socks and tenny-runners off every largely teen-aged audiences.   Gail could be compared to both Little Brenda Lee with the clarity of her voice and occassional growl, and the growl of Tina Turner and her occassional clarity.  Gail’s love of R&B made the Ike and Turner 1960 hit “I Idolize You” one of her signature songs, and blew the house down every time she performed it-or just about any other soul/R&B song she sang.

It didn’t hurt that Gail Harris also looked well beyond her actual age and could be just as demure as her ravaging onstage singing.  Her version of “I Idolize You” would show up later of The Wailers groundbreaking live album, “The Fabulous Wailers at The Castle” The live album is one of the NW Sound/garage rock’s most important albums and set high standards that other bands would try to emulate-but not quite get to. The album also included her interpretation of the Jimmy Davis penned  “All I Could Do Was Cry” that had been made famous by Etta James.  The performance was rounded out with four numbers sung by “Rockin Robin” Roberts and two by Kent Morrill.  The album (recorded by Joe Boles and produced by Ormsby, Morrill and promoter/DJ/entreprenuer Pat O’Day) was an immediate  regional hit when it was released.

“The Castle” in the title of the album referred to is the long-gone Spanish Castle (demolished in 1968)  It’s also the inspiration of Jimi Hendrix’s “Spanish Castle Magic”. The Spanish Castle had been built as a gaudy, illuminated, faux-crenelated roadhouse and dance hall built in 1931.  It had seen many swing and jazz bands in it’s earlier years-especially at the height of it’s popularity in the 1940s; but by the late 50’s it had also been a home for teen dances. One might even wonder if Hendrix was there the night the Wailers recording was made.  It’s been reported by many that The Wailers was, at the time, Jimi’s favorite local band and Rich Dangle was his favorite guitarist.   In fact a young Hendrix had even played several times on the Castle’s stage.  According to Northwest music historian Peter Blecha, in the mid-80s Pat O’Day told him;

… Jimmy would come out to the Spanish Castle and would bring his Gibson amplifier with him. And, people were always blowing amplifiers [back] then. And bands would only carry one or two amplifiers. So one night, I forget who was playing — I think it was the Checkmates who blew their amp — and Jimmy’s deal was: It was his amp: He got to play on stage. So, he’s on the side of the stage and he played his axe”

Other acts that were booked into the Spanish Castle were Gene Vincent ,Johnny Burnette, Roy Orbison, and Jan and Dean, Jerry Lee Lewis, as well as dozens of other local and national bands making their way up the ladder.

One other act to record a classic live recording at The Spanish Castle was Ernest Tubb and The Texas Troubadors. The performance was caught on tape one night in September 1965 by former Texas Troubador, Jan Kurtis Skugstad. Tubb had given the engineer/producer permission to record the show even though Tubb was then under contract with Decca Records. Tubb asked Skugstad to be “discreetwith the tapes. Skugstad had founded his own label, Camelot Records in 1964, but did not release the tapes.  In fact, Skugstad held onto the tapes until long after Tubb’s death in 1984 and they finally saw the light of day in 1998.  They are a remarkable artifact of country music and northwest  history.

But it’s here that we return to the story of Gail Harris.  Because of her popularity she eventually became a “permanent” member of The Wailers-inasmuch as the ever-changing line-up could have any “permanent members” outside the core players. A trio of backup singers (Marilyn Lodge, Penny Anderson and Kay Rogers) were hired to back Gail up. The trio were known as “The Marshans.” According to one of the trio, Marylyn Lodge

Pat O’Day actually named us. He thought we needed a name that would be remembered and that would be great to introduce: ‘and here they are, the fabulous MarSHANS!’ But I can’t tell you how many times it was pronounced MARshans (as in Martians)!

However their name was pronounced (or mispronounced) they became a popular addition to The Wailers “revue”. The Mar SHANS had originally been inspired by Ike and Tina Turner’s Ikettes, but the world of teen dances would never allow the sexuality (or state of undress) of The Ikettes. The Marshans were far more sedate.

Gail also recorded a single of her own in 1961. It was Etiquette’s third single “Be My Baby” b/w “So Much”. The A-side was written by Fabulous Wailer Kent Morrill, and not a cover of the song later popularized by The Ronettes-which, by the way, wasn’t even released until 1964.

Finally in late 1962 Gail left the Wailers in pursuit of a solo career. She changed her name’s spelling to “Gayle” and in 1963 she cut a single for Carlton Records (“”).   It didn’t create sparks, but Billboard magazine gave “Hurt” four stars.  Another single for Carlton was “released in September (“They Never Taught That At School” b/w “Don’t Make The Angels Cry”  did well regionally and Billboard said;

“Here’s one of the best sides from the label in a good spell. It’s a good rocking teen groover with much of the Detroit sound about it and the lyric packs a wallop. Action already indicated in the West, and it could take off everywhere…”

Despite Billboard’s hopeful prediction “Here Comes The Hurt” didn’t pick up elsewhere, although in the last couple of decades the song has re-emerged and been included in several 60s, and “girl group” compilations. Gayle found her way to a San Francisco and came to the attention of arranger/producer Don Costa.  Costa had an impressive C.V. Starting as a side-musician in New York City, Costa eventually worked up to the position of arranger for Steve Lawrence and his wife, Eydie Gormé.  Soon he found himself as head of A&R and house arranger at ABC  Records.  His first big launch was a young Canadian singer by the name of Paul Anka. In 1959 Costa and Steve and Eydie moved over to United Artists Records where he continued to arrange for the couple, but was also carving out his own place as a recording act. Apart from his arranging skills, Costa was a guitarist. In 1956 and ‘57 he released two 45s on ABC-Paramount using the alias “Muvva “Guitar” Hubbard. His first release was “Ponytail” was an R&B instrumental. b/w “Congo Mombo”His second release was a cover of “Raunchy” originally recorded by Bill Justis. The b-side was appropriately named “The Other Side”. Apart from his arranging skills, His 1960 version of the Manos Hatzidakis penned “Never On A Sunday” (originally known as “Ta paidia tou Peiraia” in Greek) sold over one million copies.  The Melina Mercouri version may be better known to the public, but it was Costa’s version that outsold all others.

In 1961 Frank Sinatra asked Costa to arrange his album “Sinatra and Strings”. (released in 1962). The album was filled with standards like Cole Porter’s “Night and Day”, Harold Arlen and Johnny Mercer’s “Come Rain or Come Shine” andAll or Nothing at All” by Jack Lawrence and Arthur Altman. The album became hugely popular among Sinatra fans as well as the public in general. Eventually Sinatra would hire Costa away from Steve and Eydie as an arranger and took Costa on as his producer as well.  Don Costa then formed his own company (Don Costa Productions) and started working with artists as diverse as Trini Lopez, and Little Anthony and The Imperials.  Don Costa also continued  to work with Sinatra. Don would go on to conduct Sinatra’s orchestra until he had a heart attack during one of Sinatra’s Las Vegas performances.  Costa recuperated, but did not return to the draining job of conducting for Sinatra…but he was not ready to quit. Costa would go on to produce and arrange for Mike Curb Productions.  His later successes included production for The Osmonds, Sammy Davis Jr. and Petula Clark, Sinatra, Paul Anka. In fact Costa ended up producing 553 albums and arranging or writing 953 songs.

Somewhere along the way Costa also found  time to become a father.  His daughter, Nikka Costa would go on to be a performer in her own right.  Father and daughter would work on several projects, that included a duet with Don Ho,when she was only five years old and Nikka singing along with her father on the album “Don Costa Plays the Beatles”. She sang at The Whitehouse with Sinatra, but Nikka’s most famous childhood hit was 1981’s “Out Here By Myself” (from the film Fame) at age 10. The single sold over three million copies. Shortly after her biggest hit, her father, Don Costa died from a second heart attack.  Fortunately, Nikka Costa managed to parlay her child stardom into adult success by crossing over to funk and R&B.

Don Costa “discovered” Gayle Harris one night when she was booked into the Galaxy Club in San Francisco.  He signed her to his production company almost immediately and  started handling her career.  With it came more “adult” bookings rather than the teen-dances Gail had been used to.   One of her most prestigious dates came at The Playboy Club in Los Angeles where she did a stint opening for African-American singer Adam Wade. Wade was popular throughout the 1960s for his smooth, jazz-tinged voice.  In 1959 he had his first success with a song called “Ruby” b/w “Too Far”, the a-side being a cover of the hit movie song from 1953. In 1960 three of Wade’s singles managed to make it into the Billboard top 10; Take Good Care of Her” b/w “Sleepy Time Gal” reached number 7, and “As If I Didn’t Know” b/w “Playin’ Around” peaked at number 10 and “The Writing on the Wall” b/w “Point of No Return” made it to number 5.

Whatever one may think of Hugh Hefner and his magazine one thing is very clear; Hefner was a dedicated supporter of civil rights throughout his adult life. In 1959, he helped organize the Playboy Jazz Festival, which included performances from black and white  musicians like Dizzie Gillespie, Dave Brubeck, Oscar Peterson and Jack Teagarden. The  profits went in part to the NAACP. Later festivals would proudly continue to feature black and white musicians sharing the stage. The first interview published in Playboy was with jazz great Miles Davis and was written by an up-and-coming  black journalist called Alex Haley. The magazine also published interviews with prominent black figures such as Muhammad Ali, Martin Luther King Jr. and Malcolm X.

Hefner was not afraid to have African-Americans and Latino entertainers play his clubs. He hired a bevy of Black women to work as “bunnies” and his clubs-even his television show “Playboy Penthouse”-were integrated.  It wasn’t unusual to see mixed race “party guests” on his television show. So Gayle Harris was thrown into this milleu.  It was probably an atmosphere she appreciated because back in the Northwest the teen dance scene was largely segregated.  Gail had deep admiration for the Black women singers and belters of the late 50s and early 1960s-as did many participating in the Northwest Sound.  After all, the basis of most Northwest Sound artists had been admiration of R&B since the beginning. In 1965

Don Costa had Gayle cut a promo single (“Ain’t Gonna Let Me Down” b/w “Here I Go Again”) for his label DCP International.  Once more.  The sides were great, but Costa chose not to release the single.

In the mid 60’s Gayle was introduced to Arlin Harmon, then woking with a dynamic outfit called The Big Beats. The introduction probably involved Don Costa, since The Big Beats had originally played as “Trini Lopez and His Big Beats”, though Lopez would leave to pursue a solo career after only one album, Costa continued to producer..  Harmon had been the featured vocalist on one of the Big Beats singles (“Out of The Picture” b/w “The Work Song” ) and as a member of The Big Beats on another seminal live album “The Big Beats LIVE! At The Off-Broadway” recorded in San Francisco in 1965 where they’d  found a large audience. The Big Beats were also known as one of the best bands of the 60s and 70s in Las Vegas. The two married in 1967 and worked together, travelling the country with Arlin’s bands.  They later returned to the Northwest to work as “Gail and Arlin…Gail had reverted to the original spelling of her name.  Harmon would later join James King & The Southsiders. While Gail pursued a career in music. Gail and Arlin had more in common than music.  They also shared a love of Harley-Davidsons.  They spent plenty of time on their bikes and even occassionally showed up on their Hogs and in their leathers. While Gayle was spending  time in San Francisco during the 60s she had trained with the vocal coach Judy Davis at her Oakland studio.  Davis was often referred to as “The Vocal Coach To The Stars” for having clients as diverse as Frank Sinatra, Barbara Streisand. Grace Slick and Country Joe McDonald. Davis was an expert in the physiology of sound projection.  She was well-known for her method of teaching vocalists to breathe properly and to strengthen their vocal cords so they may project and control their sound. Davis had conjured up a method of vocal training that is still used around the world.

Actually, I’m just a vocal plumber,”Ms. Davis told The San Francisco Chronicle in 1995, when she received a Lifetime Achievement award at the Bammies-awards given by BAM magazine (now the California Music Award). I fix pipes.”she added.

This training was not only useful in Gayle’s vocation, it also brought opportunities to work with musical artists such as Stevie Wonder, Tina Turner, and Frank Sinatra Jr. among others.  For many years Gayle has been a vocal coach based out of Tacoma and still incorporates lessons she learned from Judy Davis. Gail Harris has taken part in the occasional Wailers get-togethers, most notably in the 1980s.  But with the passing of Buck Ormsby (on his 75th birthday in 2016) while in Mexico, none of the original members remain.  Ron Gardner died in 1992. Richard Dangel died of an aneurysm in 2002. John Greek died in 2006, Mark Marush in 2007, and Kent Morrill died of cancer on 15 April 2011. Perhaps the most tragic death of any one of the Wailers was that of “Rockin’ Robin” Roberts who  died at the age of 27. Roberts was killed in a head-on collision after leaving a night club celebration on December 22, 1967. He was a passenger in a car traveling the wrong way on the Interstate , just south of San Francisco.  He was killed on impact. Gail Harris remains one of the brightest stars of the early Northwest Sound.  She went on to work in music the rest of her life (up until now) had a wonderful and exciting marriage to Arlin Harmon who died in 2014. She is deeply loved by her fans and friends throughout the world.

Any additions or corrections are welcomed.

 

 

-Dennis R. White. Sources; “Don Costa Biography”,”Space Age Musicmaker”. Retrieved December 12. 2017); Singles Reviews (Billboard Magazine, September 21, 1963); Shannon McCarthy “Nikka Costa Biography” (musicianguide.com, retrieved December 10. 2017); Buck Ormsby “Etiquette Records-The Short Story” (etiquette.com, retrieved December 10, 2017); Peter Blecha “Etiquette Rules! The Northwest’s Reigning ’60s Garage-Rock Record Company” ( April 10. 2009, HistoryLink.org. Essay 8947); Eileen Sisk “Buck Owens: The Biography” (Chicago Review Press, 2010); Gail Harris (Learning Musician.com, retrieved December 12, 2017); Jesse Hamlin “Judy Davis of Oakland-Vocal Coach To Stars” (The San Francisco Chronical, January 31, 2001);”I Don’t Jump Rattlesnakes No More” (afflictor.com, November 13, 2017); Tim Sendra “One Kiss Can Lead To Another: Girl Group Sounds, Lost and Found” (AllMusic.com, retrieved December 10.2017); Buck Ormsby “The Marshans” (etiquette .com, retrieved December 10, 2017); Peter Blecha “Music In Washington: Seattle and Beyond” (Arcadia Press, November 7, 2007); “Don Costa” (Space Age Music Maker. Spaceageop.com, retrieved December 10. 2017); “The Fabulous Wailers” (bands.fogcity1.com/THEFABULOUSWAILERS/index.php/home, retrieved December 10, 2017); Arlin Harmon 1945-2014: Musical Memorial (https://www.facebook.com/JazzbonesTacoma/ retrieved December 12, 2017): “The Wailers” (PNW Bands, pnwbands.com/wailers.html, retrieved December 8. 2017); Cub Coda “The Fabulous Wailers at The Castle” (AllMusic.com, retrieved December 8, 2017); Russell Webster “The Fabulous Wailers at The Castle” (Gaslight Records, gaslightrecords.com/reviews/albums/the-wailers-the-fabulous-wailers-at-the-castle, retrieved December 8, 2017;  PNW Bands “The Spanish Castle” pnwbands.com/spanishcastle , retrieved December 8, 2017); Jan Kurtis Skugstad “Ernest Tubb Live 1965” (Camelot Media, www.camelotmedia.com/ernest.html, retrieved December 8, 2017); John Broven “The Wailers” (Golden Crest www.johnbroven.com/goldencrest/wailers.html retrieved  December 8, 2017)

The Daily Flash

The Daily Flash are often referred to as either the first alternative rock band in Seattle or the first psychedelic band in Seattle. Although the former argument is up to debate, there’s no doubt The Daily Flash were one of the most successful and widely acclaimed bands to come out of Seattle in the 1960s.  The Daily Flash found it’s footing in the underground west coast folk circuit rather than the garage /R&B roots that had become so popular in the Northwest.

In fact, the term Psychedelic-at least in the beginning- may even be a bit misleading.  The Daily Flash were more interested in interpreting classic Americana and folk music as totally different takes on their originals.  This often resulted in a mix of the blues, the electrification of traditional acoustic folkie sounds and drawing from a somewhat obscure well of music written by obscure musicians…some from past folk masters, and some from writers that would soon be famous.  The biggest thing that may have set them apart from the Seattle Sound at the time is that they sought a bluesier, more electric sound than the free-wheeling style of R&B the Northwest had become known for.  The Daily Flash had more to do with the nascent sound that was about to come out of San Francisco and Los Angeles.  They drew form jazz, electric blues, folk and rejected much of what had made up the northwest teen-dance circuit.

The band rarely wrote their own material but this by no means pegs them as a “cover band” in the traditional sense.  In fact most Northwest bands working the dance circuit had always drawn from familiar covers. It’s simply that in the early days The Daily Flash took unknown or relatively unknown traditional and folk music and put their own stamp on it.  Often times the stamp was so original  as to make the material absolutely their own, and unrecognizable from the original.  In that way The Daily Flash were much like all the Northwest bands who had preceeded them…it’s only that they only had a more obscure background in folk and the hootenannies of the early 60s rather than the R&B of the late 50s.

The beginnings  of The Daily Flash go back to 1964 when multi-instrumentalist and singer Don MacAllister met another folk affecianado, Steve Lalor, in Seattle.  At the time MacAllister was playing in a local bluegrass outfit called The Willow Creek Ramblers along with Paul Gillingham, and Phil Poth.  Lalor had dropped out of college in Ohio in 1963 and headed to San Francisco where briefly hung out with musicians who would later become members of  Jefferson Airplane, Quicksilver Messenger Service, The Grateful Dead and a few others who would go on to create the San Francisco sound.  Lalor spent a short time in San Francisco, but decided to check out the scene in Vancouver B.C. because, he’d found  San Francisco to be a city with a “hard, cold attitude”.   He was on his way up the West Coast, until he stalled in Seattle.   Lalor became aware that the Seattle Center was auditioning for an acoustic folk show that would be broadcast from the center’s Horiuchi Mural Amphitheater.  He auditioned and made the grade as one of the performers. The show was a success and later  turned into a weekly program  “The Seattle Center Hootenanny” a weekly broadcast that ran for a year and a half on KING TV.  Lalor appeared on every show.  It was during this period that Lalor and MacAllister became aware of each other and took to practicing folk tunes and popular duets on their guitars and as vocalists.

Lalor and MacAllister began working together informally, learning songs by The Everly Brothers and The Beatles.  Lalor soon paired-up with Alice Stuart and Mike Hall and Jim Manolides (via the Seattle Center Hootenanies) and the founded “The Upper University District Folk Music Mandolin Society and Glee Club”. In 1964 Jerden Records released their only single under the (thankfully) truncated name, “The Upper U Singers”. There’s some question if the recordings had been done in 1963, because by 1964 Alice Stuart was in Los Angeles.”The A side (Green Satin) was written by Frank Lewis and the B side (Sing Halelluah“) was written by Mike Settle who would go on to work with Kenny Rogers, Glenn Yarbrough and as a respected singer/songwriter in his own right.  The single went nowhere, but.  today “Green Satin b/w  Sing Halellujahis one of the rarest, most sought after singles from any era of Northwest music.

By the end of the “The Seattle Center Hootenany” show’s run Lalor had once again decided to try San Francisco.  This time he was able to co-found the popular trio there. The Driftwood Singers included Lalor, Lyn Shepard and (originally) Courtney Branch.  Soon after the trio formed, Branch left and was replaced by Billy Roberts. The Driftwood Singers became the house band at San Francisco’s “hungry i” club, then in the basement of the International Hotel in North Beach.  North Beach at the time was the spiritual home of West Coast beatnik culture with “the hungry i” and a handful of other tiny clubs at it’s comedic and folk music heart. Alice Stuart had also left Seattle for Los Angeles and by chance encounter had met Frank Zappa. The Mothers of Invention were a blues band when they started out, so Zappa invited Stuart to join the band.  He was interested in incorporating his electric guitar with Alice’s accoustic delta-blues style.  During 65/66 Stuart played with the original Mothers of Invention, but left shortly before the beginning of the Mothers’ recordings of their debut “Freak Out”.  After her short,  improbable stint with Zappa, Alice returned to her roots and became a folk icon in her own right.

As for Billy Roberts, he was finding a name as the writer of “Hey Joe”.  He’d originally written it in 1962, and it had been covered in concert by both folk and folk-rock artists (well before Jimi Hendrix popularized it).  Eventually Roberts also left The Driftwood Singer and returned to his former solo career, that saw him performing across the country, finding himself on bills with Steve Miller, Santana and as a Bay Area favorite.  Roberts went on to play the first Sky River Rock Festival-that year in Sultan WA where he jammed with James Cotton, Big Mama Thornton and members of The Grateful Dead. Roberts had also written an early folk standard “The Girl From North Alberta”  The Daily Flash would work both “Hey Joe” and “The Girl From North Alberta” into their sets, and there is a demo of “The Girl From North Alberta” that has found it’s way to both legitimate and bootleg Daily Flash albums.  Unfortunately Roberts was involved in an automobile accident near Sonoma CA in the early 90’s and moved to Atlanta, Georgia to retire from live gigs.  His performing days were over, but in 2017, at the age of 81 he still continues to write music. He owns the copyrights of over 100 songs.

The Driftwood Singers had made a name for themselves and ended up working regularly in other Bay Area coffee houses as well as doing several tours up and down the West coast.   But Lalor was once again ready to leave San Francisco behind.  His old friend Don MacAllister had come to San Francisco to entice Lalor back to Seattle to form a band with himself, Lalor and a brilliant drummer that MacAllister had “discovered” named Don Stevenson. Unfortunately for Lalor and MacCallister, Stevenson had been snapped up by The Frantics by the time they returned to Seattle.  The consolation was Lalor and MacAllister ended up with Jon Keliehor, the former Frantics drummer who’d been replaced by Stevenson after Keliehor had been involved in a near-fatal accident near Eugene OR. Don had been driving alone on his way to a series of Frantics gigs in California.  Keliehor was unable to play the gigs and was replaced by Stevenson, who became The Frantics regular drummer.  Keliehor had recuperated and joined The Daily Flash,  while Stevenson and The Frantics guitarist Jerry Miller went through several transformations in the Bay Area, and eventually went on to co-found Moby Grape.  Ironically Moby Grape and The Daily Flash held an abundance of talent that would never be properly utilized by the music industry.

At the time MacAllister had met up with Lalor it was still presumed that Stevenson would be drummer, and Stevenson had been talked-up so dramatically that it was a great disappointment to find Keliehor in his place when Lalor returned to Seattle.  Lalor would go on to tell Seattle rock Neil Skok ;

“(hiring) Keliehor was the right thing to do. He was the secret magic ingredient that makes groups happen.  Lalor also added that Kehielor ( a classically trained musician) “knew music better than the rest of us and was game to try anything”.

The next task was to find a guitarist that would be a good fit and capable of playing the blend of electric blues, traditional folk music and the newly-minted psychedelic sound.  It was Doug Hastings, a young player (still in college) that occasionally sat-in with The Dynamics that was drafted into The Daily Flash.  So now, in 1965, the classic line-up of The Daily Flash was born.  Success came almost immediately.

Jon Kehiehor  credits their popularity for breaking the mold of typical ‘Northwest Sound’ bands like The Wailers and The Sonics.

“We were the first alternative music voice for the hippie movement in the area and set a new pattern that influenced so many musicians at the time.  We broke from the teen movement and started playing outside high school venues, creating new alternative audiences and venues.  Our music was a unique fusion of folk, pop and jazz, and Steve and Don’s vocal combination was imitated by many who followed.”

It’s clear an entire new paradigm was taking hold of youth culture. music, dress-and yes…drugs  If anyone was going to break up the old one The Daily Flash were more primed than any other local choice.   They were the mosttalked about and most popular band in Seattle…and all based on the few performances they’d done, and as many posters for shows that weren’t even meant to take place.  But when the did perform The Daily Flash brought great, innovative musicianship, tight harmonies and 12 string guitars into the mix of re-interpreting folk music and jazz as rock.

One of The Daily Flash’s first gigs took place at a club called The BFD.  During the heyday of psychedelic rock in Seattle it was the place to be.  In 2009 musician Tom Dietz (formerly of The Nomads) recalled taking music lessons at Ford’s Music in Eastgate.  One of the steel guitar instructors was Blaise Lewark (of The Evergreen Drifters and later The Canterbury Tales).

“One day we were visiting between his lessons  (Lewark) told me of his vision of opening a nightclub within an abandoned church building and asked me what I thought of the name of the club – BFD.  Sounded good to me, so true to form…Blaise took possession of the building and bought a whole bunch of flat black paint.  Several weeks later the teen rock club was open for business.  Live local rock acts upstairs and live folk music in the coffee house inspired basement”

“The smartest thing Blaise did” says Dietz “was to have the joint open on Sunday nights.  If you lived in Seattle during the mid-60 the BFD was the only rock club open on Sundays.  What a stroke of genius.  Every musician in town hung out at th BFD on Sunday nights.  Most sat in with the band and we all jammed our Sunday nights away”.

One of the attractions that brought crowds to The Daily Flash’s shows was the care they took in presenting their sound.  Steve Lalor remembers:

“The harmonies were coming over like a wall of sound.  Seattle hadn’t heard anything like it before

Blaise Lewark also opened a second BFD club in West Seattle, and along with the more-often shows of national acts at the Eagles Auditorium and plenty of underground clubs Seattle now had a thriving alternative scene.  One other club that was around at the time , “The Door” (at 1818 7th Avenue-now gone) was still hosting folk music as well as some of the newer artists that were spinning out of the Seattle scene.  It was there in 1965 that Ron Saul, a local record distributor, met the band and agreed to shop the group around.  It wasn’t long before he’d gotten them a deal with Parrot Records- the American subsidy of London Records.

The first single was envisioned to be a cover of Dylan’s ‘Queen Jane Approximately” backed with Dino Valenti’s “Birdses” a song that Lalor admired since his days hanging out with Quicksilver Messenger Service.  Valenti had also written the massive hit “Get Together” for The Youngbloods and was held in high regard within the hippie music scene, not only for his writing and as singer for Quicksilver Messenger Service, but also with music executives who saw his ability to write commercially viable songs.  After recording the single Saul considered “Birdses” to be too light, so the band went back into the studio to record what some would call a classic of psychedelic blues,  their version of the traditional “Jack of Diamonds”  Unfortunately the single went nowhere except to make a small dent in the Seattle radio market.  Both sides have gained much more appreciation over the years, but it is “Jack of Diamonds” that is the stand-out.  In 2012 David Marsh of The Guardian wrote:

“Today, the shambolic brilliance of ‘The Daily Flash’s’ Jack of Diamonds is more listenable and less dated than much of what their more celebrated peers produced. The opening wall of noise during which the drummer seems to be warming up; the bass playing the same insistent riff throughout; the urgent harmonica and jagged guitar; the production that suggests it really was recorded in someone’s garage – all contribute to a great record. It finishes as it begins and you have heard the definitive garage punk single”.

Even though their debut single had failed, The Daily Flash were becoming well-known up and down the West Coast on the strength of their live performances.  Soon they caught the attention of Charlie Greene and Brian Stone, the managers of Sonny and Cher as well as up-and-comers like Iron Butterfly and Buffalo Springfield.  Greene and Stone invited The Daily Flash to re-record their single in Los Angeles while they took on management duties.  But the re-recorded single also failed to draw attention outside the Northwest and Southern California.  The management team was helpful in getting the band gigs on both the East and West coast opening for acts like Jefferson Airplane, Quicksilver Messanger Service, The Grateful Dead, The Grass Roots, Country Joe and The Fish and The Sons of Champlin, but it was their live performances, not singles or albums that would draw them fame.

On their way south to re-record “Queen Jane Approximately”for Greene and Stone they had a stopover in San Francisco where they played two shows at The Avalon Ballroom.

According to Lalor”

“The promoter, Bill Graham, billed the group as headliners.  It was two nights, a Friday and a Saturday in April and both nights featured ‘The Daily Flash’ and ‘The Rising Sons’.  Plus on Friday night there was ‘Big Brother & The Holding Company’-without Janis-and on Saturday night it was ‘The Charlatans”

(Lalor’s memory of the shows may be off a bit.  At the time Chet Helms was running the Avalon Ballroom, but it’s possible his former partner, Bill Graham had actually booked the show).

No matter, The Daily Flash were gaining more and more popularity in San Francisco and Los Angeles-as well as Seattle where they were seen as conquering heroes. As more and more gigs piled up Jon Keliehor remembers a hard-to-forget incident in 1966.  The band were to play at Vancouver Canada’s first “Trips Festival” held on the weekend of 29-31 July.

“Steve, Doug and I arrived at the festival in the morning. We weren’t due to perform until 7 or 8pm. Quite suddenly a car arrived announcing that we were to be escorted to the seaside to spend the afternoon with various members of ‘The Grateful Dead’. I remember that The Dead’s chief chemist Owlsey Stanley drove the car that picked us up. Before any of us quite realised it, we had fallen not only under his spell, but also under the spell of his magic tablets. Soon afterwards we met other members of ‘The Grateful Dead’ and the afternoon passed amiably”.

Soon afterward The Daily Flash were firmly rooted in Los Angeles, where they became the “house band” for the local television show “Boss City”.  They were also offered a cameo in the spoof/spin-off TV show “The Girl From U.N.C.L.E. starring Stephanie Powers. ( episode 19, “The Drublegratz Affair” which was first aired January 31, 1967)  The band played an improbably ridiculous song titled “My Bulgarian Baby”.  The result was pure kitsch.

In 1967 the band went into the studio again.  This time they recorded a single for UNI Records.  UNI had been formed under MCA in 1966 and was still finding it’s way.  The label had taken over management of MCA’s newly acquired Kapp Records.  UNI’s artist roster was impressive. The Strawberry Alarm Clock, Hugh Masekela, Brian Hyland, Desmond Dekker, Bill Cosby, Elton John, Neil Diamond, Dave and Ansil Collins Olivia Newton-John, and Betty Everett were some of their biggest acts.  UNI had also taken over management Revue Records,  a soul music subsidiary, from about 1966 to 1970.  Despite their roster and distribution network (or because of it’s overextension) UNI was a mess.

The band chose to do a cover or Ian Tyson’s and Sylvia Fricker’s (Ian and Sylvia) beautiful ballad “The French Girl” along with “Green Rocky Road” as the B-side.  “The French Girl” had been originally released by Ian and Sylvia and would be covered by Gene Clark, The Grateful Dead, and others, but it is The Daily Flash’s version that best captures the melancholic romance of the song.  It’s been reported that Bob Dylan occasionally used the song as a warm-up to some of his shows, but never recorded it.  In actuality he’d recorded it with The Grateful Dead and another version of it can be found on “The Bootleg Series, Vol. 11:  The Basement Tapes Complete (2014)” But these versions, like all other attempts to cover the song have never been able to capture the magic of The Daily Flash’s version.

Perhaps The Daily Flash’s release of “The French Girl” was a case of too much, too soon for UNI.  Consequently it failed to chart nationally.  It’s probably the most viable of all of The Daily Flash’s recordings but a lack of promotion or poor distribution caused the single to fail.  Looking back now it’s clear The Daily Flash version is the best of all that has been done before and since. It even makes Ian and Sylvia’s version sound a bit brutal. The Daily Flash version is a lost 1960’s masterpiece.  Fortunately it got traction in Southern Calfornia and the Northwest, so listeners of retro-radio may find the song familiar but not quite to be able to pinpoint how they know it.

With so much work without much payback, The Daily Flash began to disintegrate later that year.  Doug Hastings had taken the place of Buffalo Springfield’s Neil Young when Young had walked out. Hastings’ association with the band was brief, since The Buffalo Springfield was also near collapse.  In spite of that, Hastings had a chance to play with the band at The Monterrey Pop Festival. Hastings was replaced in The Daily Flash by Craig Tarwater formerly of “Sons of Adam” At nearly the same time Jon Keliehor was fired from the band because he’d chosen to attend a spiritual event rather than show up at an important gig.  According to Kehielor;

“I was dismissed from the band because I wanted to take a weekend to learn transcendental meditation in Los Angeles, which happened to clash with a semi-important, last minute scheduled performance in Las Vegas. I opted for the meditation instruction and was given immediate notice by the others. The result of my dismissal meant that I was no longer subsidised by our managers. I had to give up my house on Amour Road at the top of Laurel Canyon and was taken in by my friend and former Kingsmen bass player Kerry Magness”.

Keliehor was replaced by Tony Dey on drums and Dey continued to play into 1968 when he was replaced by Ron Woods just before The Daily Flash finally disbanded.  Given the direction and spirituality he’d find in the future Jon Keliehor had probably made the right decision in attending the spiritual retreat.  He moved to England in 1970 to work with The London Contemporary Dance Company, and formed Luminous Music, an organization to experiement in new and world music and movement.  His mission and work had taken on a spiritual quality.  He made a sojourn back to Seattle in the 1980s and became a composer and performer with Gamelan Pacifica, taught at The Cornish School of Art and became involved with The Seattle Symphony.  In 1996 he returned to the U.K. (this time to Glasgow Scotland) to continue his exploration of music and dance. He remains there and has become a vital contributor to the contemporary arts scene in Britain.

Before his departure from Los Angeles Keliehor was still in demand though.  He’d been brought into a new project called “Gentle Soul“.  The band’s ostensible producer was Terry Melcher, but Melcher’s intention was to record an album with upcoming singer/songwriter Pam Pollard as a duo.  He brought Pam’s collaborator on board, as well as Kerry Magness (who’d been working as a studio sideman for The Doors) and former Iron Butterfly guitarist, Danny Weis.  The proposed band would back Terry and Pam’s material.  Gentle Soul” only made one demo before going their separate ways.  Shortly afterward  Keliehor and Magness were invited to audition for The Doors producer Paul Rothchild.  Rothchild was putting together a new project he was to call “Rhinoceros”.  Doug Hastings, who had spent a brief time in Buffalo Springfied was also asked to audition, as was a host of other Los Angeles musicians  Hastings had been dropped by Buffalo Springfield the minute Neil Young had shown an interest in re-joining the group. Rhinoceros was not congealing as Rothchild had anticipated so he put the project on hold. He’d later revived the project as the first “Supergroup”, but the result was bloated and overblown.  Rhinoceros came and went after one album. To this day the album has detractors as rabid as it’s fans.
Hastings spent his time doing pick-up gigs.  Keliehor sat in on the recording of The Doors’ second album, “Strange Days” He also became friends with The Byrds (particularly David Crosby).  He gained several opening spots for the band and was considered as a substitute for Micheal Clarke when he temporarily left the band; but Michael Clarke soon returned to The Byrds. Unfortunately Keliehor’s being drafted full-time with The Byrds wasn’t meant to be.

The Daily Flash soldiered on and ended up supporting The Grateful Dead during a tour of the Northwest. Afterward they returned to Los Angeles to play a few gigs and then back to Seattle to do some very well-received shows.
“Everyone who came to see us was expecting to see a great group“, Lalor later claimed, “and because of that we played like a great group.”

In the wake of these dates the band was off to support Van Morrison for a handful of dates but it was clear there was serious division in the band. Part of it was personal, but much of it was based in the fact the band wrote very little of their own material.   MacAllister, Tarwater and drummer Ron Wood collaborated with future Mother’s of Invention bassist Jeff Simmons.  Darryl De Loach, late of Iron Butterfly and former Soul Survivors/Poco guitarist John Day joined them.  The new band worked under the name “Nirvana” They soon changed their name to “Two Guitars, Bass, Drums and Darryl”  They cut a single for Atlantic Records without Simmons (“He’s My Best Friend” b/w “Spaceman Blues”).  Both songs were penned by Don MacAllister.  After the single’s poor reception the band parted ways.  MacAllister and Craigwater the took part in the recording of Jackie De Shannon’s “Laurel Canyon”  During the sessions they became aquainted with Mac Rebennack (Dr. John). By this time MacCallister shared more than musicianship with Dr. John.  Both were heroin addicts.  Later MacCallister would tour with Dr. John (along with Hastings)  but was dismissed by the Doctor’s management for “encouraging the good Doctor’s bad habits”

In fact, MacAllister had been a junkie for quite some time and was sinking futher and further into his addiction, despite a series of studio gigs and a short tour playing mandolin for Bob Dylan.  Soon he was picking up gigs for second and third line artists in Los Angeles so MacCallister was making plans to return to Seattle to see his old friend, Paul Gillingham.  Remember that MacAllister had worked with Gillingham in The Willow Creek Ramblers.  Unfortunately MacAllister overdosed and died a few days before his planned trip.  Later Hastings recounted that  “MacAllister’s family strongly disapproved of his life and his friends and they retrieved the body (from Los Angeles) and returned to bury him in Seattle, leaving no invitations for his friends.”

Steve Lalor had played on a couple of tracks on Dr. John’s “Remedies” and played various sessions in Los Angeles before re-connecting with Danny O’Keefe, a former member of the Seattle group “Caliope”.  Lalor auditioned to tour with O’Keefe after the success of “Good Time Charlie’s Got The Blues” which became an international hit from O’Keefe’s solo album.

By June 1970 Doug Hastings left music behind and gone back to college, where he completed his original studies of Petroleum Geology.  As of 2016 Hastings was Senior Geologic Science Advisor for Brooks Range Petroleum.  Although he’s left music behind he occasionally sits in with the newly re-formed Daily Flash.  They’ve continued to play regularly around the Northwest since 2002.

Various members that floated in and out of the band have taken part in tours or studio recordings by artists as diverse as Buddy Miles, The Turtles, James Brown, The Byrds and too many more projects to mention.

In 1984 music critic Peter Blecha and record producer Bob Jenniker put together a comprehensive overview of The Daily Flash called “I Flash Daily”  The compilation includes the only two singles The Daily Flash ever released (“Queen Jane Approximately” b/w “Jack of Diamonds” and “The French Girl” b/w
Green Rocky Road”) as well as several demo’s, live performances and unreleased material.  The album was released by Psycho Records in the UK but has never been released domestically in the U.S.  It’s a shame since the band had gone so far on the strength of two 7″ singles, one imperfect 7″ compilation and a history of some of the earliest and most well-received performances of the psychedelic era.  There is also a soundtrack for the film “Pit Stop” credited to The Daily Flash, but in fact composed and played by Two Guitars, Piano, Drum & Darryl.  Musical radio clips of The Daily Flash are found in the 1968 Peter Bogdanovich film “Targets” starring Boris  Karloff.

 

Nowadays The Daily Flash consist of Steve Lalor, Barry Curtis (one of the original Kingsmen) and  Steve Peterson (a member of The Kingsmen since 1988) and Don Wlhelm who has worked alongside Heart founders Roger Fisher and Steve Fossen.  Wilhelm has also had the honor of working with The Frantics-turned Moby Grape drummer Don Stevenson.  The Daily Flash members also consider their sound engineer, Craig Bystrom, an essential part of the band.  On their homepage they claim “…he brings his wealth of talent and experience to The Flash and enables the band to sound its best at all times”  After their re-uniting in 2002 the band have played consistently.  In 2012 The Daily Flash released the album “Nightly”.  The album includes original material as well as the re-interpretations of traditional folk and jazz. Reviews were roundly positive (to say the least) upon it’s release.

 

-Dennis R. White.  Sources. Neal Skok “The Daily Flash” ( Ptolemaic Terrascope #12, July 1992); Steven Selinkoff ” Don MacAllister & Jon Keliehor”, (Name Dropping, 13 December 2015); Brian T. Marchese “The French Girl-The Tale of The Tune” (Where’s That Music Coming From? February 1. 2012);  Tom Deitz,”The BFD’ (PNWBands.com);  “Alice Stuart Interview” (Guitarhoo! May 14.2004);  Gordon Skene “3 By The Daily Flash-1966-Past Daily Weekend Soundbooth” (Past Daily, August 18, 2014); Vernon Joynson “Fuzz Acid and Flowers Revisited: A Comprehensive Guide to American Garage Psychedelic and Hippie Rock [1964-1975] (Borderline Productions, 2004); “Daily Flash Recordings” (Copyright LamaSivaDoz, 2003); Stewart Hendrickson “Hootenannies in Seattle” (Pacific Northwest Folklore Society); Phil Williams “</Early Bluegrass in Western Washington and the Pacific Northwest” (Voyager Recordings and Publications); David Marsh “Old Music: The Daily Flash-Jack of Diamonds (The Guardian, 13 March, 2012); Nick Warburton “The Daily Flash” (Rhinocerus. www.rhinoceros-group.com August 2001); The Daily Flash: Subverting The Dominant Paradigm Since 1965, www.thedailyflash.com) The Daily Flash “Nightly’ Liner Notes” (CDBaby.com); Jon Keliehor “I Flash Daily”  (Luminous Music, www.jonkeliehor.com/Daily_Flash_profile.htm); Richie Unterberger “The Daily Flash-I Flash Daily” www.allmusic.com); Peter Blecha “The Daily Flash: Seattle’s ’60s Folk-Rock Heroes 1965-1967”  Northwest Music Archives, 2014); Ritchie Unterberger “Jingle Jangle Morning: Folk Rock in the 1960s”  (Book Baby, Feb 20, 2014);

 


 

 

 

 

 

The Bards

Looking back on  heyday of 50s and 60s teen-dance music in the Northwest we tend to forget there was also a very healthy  scene in eastern Washington, Northern Idaho and to a lesser degree in eastern Oregon.  Teen dances were just as popular on the east side of the Cascades as they were on the west, but we often overlook it.  Perhaps the crowd sizes were smaller, but it’s important to remember the distances between the small towns of the Inland Empire.  Bands did much of the bookings themselves in Grange Halls, all-ages clubs, teen fairs in the larger towns and relentlessly trying to get the attention of small, local radio stations that were largely forgotten by labels and distributors.  One of the many bands that would follow in the tradition of eastern Washington bands was The Continentals (later The Fabulous Contitnentals).  The band was formed was formed at Moses Lake High School in 1961/1962.  Originally the Continentals was loose-knit affair with personnel coming and going.  During the early years Ron Covey was added on electric guitar, and singer John Draney got on board. According to bassist Chuck Wallace;

John (Draney) could do a pretty good Roy Orbison and ‘Pretty Woman’ was an early addition to our repertoire. Ken McDonald was the leader of the group and named it the Continentals. His father owned the local Lincoln, Mercury car dealership but at the time I’m not sure we were sharp enough to make a connection”.

Ken suggested the band play a “real” gig and they ended up with a 1962 booking for a New Year’s dance at a local Elks Club.  The band played “Five Foot Two” and the mostly-adult crowd loved them.  Chuck says “I was playing the upright bass, Bob Hull was on piano and I don’t really recall the exact make up of that first combo.” 

After graduating from High School in 1963 Ken went off to college, and the band went through drummers Stan Gibson and Nick Varney.  But it was Bob Galloway that finally became a permanent member of the band.  Bob Hull had also gone off to college and was replaced by keyboardist Mike Balzotti, and guitarist Mardi Sheridan joined the group around the same time.  It was at this point that the band re-christened themselves as The Fabulous Continentals and added Marsha Mae, sister of Ron Covey, on vocals. Chuck Warren says:

“We were traveling the state and enjoying some success on the dance circiout but the size of the group made traveling and dividing up the paycheck at the end of the gig was a challenge”.  Early on we rented our own halls and probably hit every Grange and Armory, and City Hall in Eastern Washington. As our popularity grew we began being hired by promoters who ran dances in roller rinks and larger venues”

It’s clear the core members of the Fabulous Continentals had aspirations and were willing to work as much as possible to make things happen. Keyboardist Mike Balzotti, guitarist Mardi Sheridan, drummer Bob Galloway, and bass player Chuck Warren were at the core of the band and made a decision to scale down the band to it’s basics.  Marsha Mae was told “to stay home. Her brother Ron quit in solidarity with his sister-or possibly on the orders of his mother and father.  At this point the Covey parents asked the remaining members to “leave the basement” where they’d practiced and “never return!” The parents even went so far as to run a local newspaper ad proclaiming that Ron and Marsha Mae Covey were no longer associated with The Fabulous Continentals “Lucky for us” Warren slyly adds “Bob Galloway had a garage!”

The move didn’t seem to deter Marsha Mae’s rise to local fame and her notoriety was probably more to her parents’ liking. In 1968  she would  be crowned “Miss Moses Lake” and the year after she was crowned “Miss Washington”.  Ron Covey became involved in Moses Lake politics and spent years on the city council as well as serving as Mayor.  Later he headed ‘The Moses Lake Irrigation and Rehabilitation District Board’ but resigned (without explanation) in 2014 after a contentious four years with the MLRDB.

Once Balzotti, Sheridan, Galloway and Warren had pared down the group to a quartet they started looking for a new name.  The musical world had been turned up by the British Invasion, with The Beatles at the forefront.  Contemporary musical tastes were changing at a dramatic pace, and bands across the US were in the process of finding more British sounding names.  Peter Blecha has pointed out a few Eastern Washington bands that followed the trend to Anglicize their band name;

“Spokane’s Runabouts retooled themselves as the London Taxi, Ellensburg’s Avengers reformed as the Scotsmen and recorded “Sorry Charlie” replete with Brit accents, and a Moses Lake band, the Bards — who had originally formed as the Fabulous Continentals back in 1961 — began restyling themselves after the Beatles…Another popular Moses Lake-area band, the Page Boys, got signed by Seattle’s Camelot label, which released their single “Our Love” The members of the Fabulous Continentals were changing (like many of their contemporaries) from a primarily instrumental band playing raucous R&B-tinged garage rock to a more lyrical outfit that would be known by a name that implied a more “British” sound.   The band started looking through a Roget’s Thesaurus to find a name that would describe the new path they’d chosen…to make use of classical  lyrics and content set to modern music…and of course to “sound” British.   After a search, they decided on the name The Bards.

The band kept up a hectic schedule playing as many venues across Washington, Oregon and Idaho as possible. After years as a dance band, and the hard work as The Bards things started paying off.  Although they were writing new music all along, they made sure to keep their audiences satisfied with playing plenty of their old standards from the Fabulous Continentals days, thus keeping fans old and new happy.  After years of constant playing they were becoming the most popular band in the Northwest…on both sides of the mountains; so it wasn’t a stretch that they’d eventually come to the attention of Seattle-based Jerden Records head Jerry Dennon.

Dennnon offered the band a chance to record a few songs at Kearney Barton’s Audio Recording Inc. studio, then on Fifth Avenue.  Barton’s Audio Recording Inc. was built inside space he’d made into one of the most sophisticated studios in the Northwest, complete with two echo chambers and a three track tape recorder. The Bards initially recorded four sides with Barton. “The Owl and The Pussycat” based on the poem by Edward Lear,  “The Jabberwocky” inspired by the Lewis Carroll poem, an original composition “The Light of Love” and a cover of The Who’s “My Generation”. The sessions were engineered by Barton and produced by Gil Bateman who also produced the Sonic’s  “Psycho” and “The Bears” by Springfield Rifle among other great Northwest sides.

Even though The Bards had originated about the same time as The Wailers, The Frantics and dozens of other NW Sound bands  The Bards tried to distance themselves from what was popular west of the Cascades.

“We purposely tried not to be too “Seattle” as we felt that many of the groups over there sounded a lot alike”.

Their first recordings show they were serious about that claim. After completing their first recordings  Dennon shopped them around Hollywood and New York City, but couldn’t find a major label willing to release them.  He had proposed “The Owl and The Pussycat” b/w “The Light of Love” as a single but label execs found the lyrics of “The Owl and the Pussycat” too…suggestive… even though the lyrics were mostly an unadulterated reading of Edward Lear’s original poem.

Instead of continuing to pursue a major label, Dennon decided to release The Bards’ first single on his Piccadilly Records imprint. Picaddilly was the regionally distributed label that Jerden Records  used to float a trial balloon for local  talent they were considering signing, or as a respected regional label that might attract the majors.  The release got a bit of Puget Sound and Eastern Washington attention, but really went nowhere.  “The Owl and The Pussycat” was rooted in what we might think of as “The Northwest Sound” but it definitely wasn’t garage rock in the manner of the Wailers, The Frantics or The Sonics. There was far more folk-rock influence, and it’s clear the band were interested in a more “pop” sound-albeit one based in serious songwriting rather than playing to the masses. The prominent organ was not played in the standard local R&B and vocal harmonies were more pronounced.  Over all it’s a great tune.  Ironically it was later re-issued by Capitol Records as well as a slower version that is pure early psychedelia. Unfortunately the later Capitol release didn’t do well either, although it’s worth a listen, and some collectors even covet it over the original recordings.  They’re  great examples of early  psychedelic pop.

The Bards second release (also on Picaddilly) didn’t fare any better outside the Northwest.  Their cover of “My Generation” was solid but not particularly innovative.  The “B’ side of the single is “The Jabberwocky” which would be used again later as a B-side (as was their song “The Light of Love”). “The Jabberwocky” is set to fine instrumentation, but the lyrics of the Lewis Carroll poem seem out of place here.  A bit too forced.  This might be because the poem was far less referenced in 1967 than it has been in the ensuing decades.  At a time that most songs on radio were love songs, or all-out rockers it gets marks for innovation.

Finally on their third try The Bards hit pay dirt.  The band had heard the song “Never Too Much Love” on the B-side of Curtis Mayfield and The Impression’s 1964 hit “Talking About My Baby” The Bards were smitten.  They rushed back over the mountains to Kearney Barton’s studio to cut their own version almost immediately.  Mayfield had originally written the song and performed it in the classic R&B/Soul style that he pioneered.  The Bard’s version didn’t veer too far off vocally, aside from being less smooth than the incomparable Impressions.   The smooth instrumental harmonies and a gentle horn section were missing on The Bards version.  They did what most rock bands do when faced with ballads-they relied more on electric guitar.  The result was a truly new reading of Mayfield’s song.  Instead of cool soul it took on a more folk-rock/psychedelic  air.  It was also infectious and rose to number one status on many Northwest and British Columbian regional radio station’s playlists.  More importantly, it drew the attention of the major labels who had earlier turned The Bards down. The Bards were left to choose several offers that were coming in fast but chose Capitol Records, since it was the American home of their revered Beatles.

The result was taking their regional hit “Never Too Much Love” to a nationwide distribution deal, and would become a minor hit around the US.  It still ends up on compilations of both Northwest and psychedelic bands. In the aftermath of their “hit” The Bards remained on the road even more than they had in the early 60s.  They found themselves as openers for bands like The Young Rascals, The Turtles, The Dave Clark Five and as pick-up band for Tommy Roe.   Although they admit they found Roe to be a top-knotch performer, they weren’t as thrilled by his music.  The Bards also opened for other top national and international acts around the region.

Between opening gigs they continued headlining the kind of venues that had always provided their bread and butter; teen dance halls, roller rinks, grange halls, county fairs and whatever other spaces that hosted teen dances.  According to Chuck they were working 20-25 nights a month and in 1967, 1968 and 1969 they had put over 100,000 miles a year on the Bardsmobile, a car that towed a small trailer carrying their equipment with The Bards logo prominently displayed on each side.

“Virtually all of those miles were in the Northwestern Part of the United States. Washington, Oregon, and Idaho were Bard states. Parts of Montana, British Columbia and Northern California were part of the circuit also”

The schedule got incredibly demanding after “Never Too Much Love” and the band was afraid of becoming stale.  They cancelled a month’s worth of gigs and rented an old theater in Moses Lake (The Ritz) to write, practice and record.  It was these recordings that showed an even more original and innovative sound.  The band recorded on a reel-to-reel  and a song or two at a time was sent to Kearney Barton’s studio for mastering.  At the core of what they were writing was a sort of mini rock opera they called “Creation”. The Bards were so pleased with the results they decided to drive to Los Angeles with demos in hand to find a label interested in releasing the totality of “Creation” which would include a few other remarkable compositions that would fill out an album.

Before their move to find a label in LA The Bards recorded one more song at Kearney Barton’s studio.  This time the band chose Jeff Afdem of the bands The Dynamics and Springfield Rifle to arrange and produce.  The A-side of the single was “Tunesmith” by Jimmy Webb.  Webb was at the height of his career at the time, writing classic songs such as “Galveston”, Witchita Lineman” and “MacArthur Park”. The B-Side of “Tunesmith” was written by an unknown singer/songwriter born in Spokane and commuting between his home in Yakima and his gig with the Seattle based band Caliope. The song chosen was “Good Time Charlie’s Got The Blues”, and of course the singer/songwriter was Danny O’Keefe. O’Keefe had recorded a demo of “Good Time Charlie’s Got The Blues” about a year before The Bards release. O’Keefe’s version had remained unreleased since it was, in fact, a demo that O’Keefe had used to find a label.  O’Keefe had also caught the eye of Jerry Dennon very early on, and O’Keefe had become friends with Jerry, and signed with his Jerden label, as well as Dennon’s Burdette Publishing. It’s likely that this was the connection that brought the song to The Bards attention

The single was released on Parrot Records (a U.S. subsidiary of London Records) who would go on to license two other Bards  re-issues.  Danny O’Keefe would have an international hit with his song a few years later, and since then his song has been covered literally by dozens of well-known artists.  Although Jimmy Webb was considered one of America’s best songwriters at the time, Keyboardist Mike Balzotti says:

“Had it been up to The Bards, ‘Goodtime Charlie’s Got The Blues’ would have been the “A” side”.
He goes on to say:
““As it turns out, a year later Danny O’Keefe made a big hit out of a similar rendition of the song!”
(The song would actually become a hit for O’Keefe in 1971, three years after The Bards).

Despite Webb’s fame and popularity The Bards were on the right track.  “Good Time Charlie” has become the longer lasting song, that still remains a staple of oldies radio, and the many other covers of it remain favorites of the fans of other artists.

. Once in Hollywood, by pure coincidence The Bards ran into singer/songwriter/producer Curt Boettcher in an elevator after they’d visited the offices of Mike Curb, one of the most successful producer/executives of all time.  Boetthcher was taken by the band right away  so he drove them to his business partner Gary Usher’s house to listen to the tapes they were shopping.  Both Boettcher and Usher were impressed.  Later the band were introduced to Usher and Boettcher’s third partner, Keith Olsen.  Boettcher, Usher and Olsen were then in the process of putting together a label called Together Records.  On paper the trio seemed like a team that couldn’t be beat.  All had been successful producers and/or engineers on a plethora of hit records.

Boettcher had produced The Association’s debut album which resulted in the hits “Along Comes Mary”  which reached number seven on the Billboard Charts and “Cherish” which reached number one. Boettcher is remembered as one of the earliest proponents of “Sunshine Pop”-a slightly more serious version of “Bubblegum Music” and although he only lived to be 41 he would go on to produce The Grateful Dead, the mixdown engineer for Emmit Rhode’s “Farewell to Paradise” and in the mid-1970s, he sang backing vocals for artists as diverse as Elton John, Eric Carmen and Tanya Tucker among a host of others.  He’d also managed to perform and record as a solo act.

Gary Usher had strong ties with the Beach Boys, had produced a few of their early singles and co-written several  songs with Brian Wilson, including “409” and “In My Room”. He’d also produced The Byrds, The Surfari’s and Dick Dale, as well as “discovering” The Firesign Theater and being instrumental in getting them a major label deal. Usher would go on to have his own successful career in the 1970’s.

At the time Keith Olsen was a respected engineer, but his incredible track record of production credits was a bit ahead in his future.  During the 1970’s Olsen produced dozens of hit artists and several number one albums.  In all he would produce more than 39 Gold records, 24 Platinum records, and 14 Multi-Platinum albums. So under contract to “Together Records” The Bards set out to record what would be an album with “Creation” at it’s core.  Their new label seemed bound to be a huge success with all of the talent on hand and with distribution through Curb. One hitch was that The Bards were still under contract with Jerry Dennon of Jerden Records, and also to Capitol Records.  They needed a new name to release any new recordings.

Curt Boettcher, as producer had been fascinated by the name of The Bards’ hometown, Moses Lake.  He suggested the band their name should be changed to “Moses Lake” The band liked the idea, so the recordings proceeded with the assumption the band name had changed.  While the erstwhile Bards were recording , Usher, Boettcher and Olsen were in the process of finding financing and distribution for their new label.  The three had been in talks with Motown in the beginning, but no deal could be reached.  The trio then returned to Mike Curb (in who’s office elevator the band had met Boettcher) and were able to secure the finances they needed to get off the ground, and a distribution deal through Curb’s organization.

Mike Curb was and is a legendary figure in the music and film business.  He had worked with artists such as the young Linda RonstadtThe Electric Flag (featuring Mike Bloomfield and Buddy Miles) as well as writing songs for and producing The Osmonds, Roy Orbison, and Liza Minnelli among many of the acts that would later become best sellers.  Curb would also sign artists such as Richie Havens, Gloria Gaynor, Eric Burdon, Johnny Bristol and War.  In 1969 Curb merged his successful Curb Records with MGM and became President of MGM Records and Verve Records.

Shortly after becoming President of MGM  Curb became embroiled in a crusade to rid the music business of drugs by dropping 18 acts that in the words of Billboard Magazine

“had, promoted and exploited hard drugs through music.”

Billboard added that Curb was motivated by the drug-related deaths of Janis Joplin Jim Morrison and Jimi Hendrix. Oddly enough one of the acts Curb had dropped was Frank Zappa.  Even in the 1960s Zappa had been well-known as a critic of drug use.  Apparently Curb had not gotten the memo.  He also hadn’t got the memo that Zappa had already fulfilled his contract and was in the process of establishing his own labels, Bizarre and Straight Records.

Sadly Together Records failed to live up to it’s promise.  It’s said that their only release that came near being a “hit” was used for paying staff.  The compilation  “Preflyte” by The Byrds is a collection of demos and non-released material that predated their being signed to Columbia.  The album also contains a great deal of early material recorded under The Byrds original name, The Jet Set.  The album stalled at number 84 on the Billboard charts, and other Together releases by The Hillmen, Sandy Salisbury and Charlie Musselwhite, and Curt Boettcher himself didn’t even chart.  The label was out of money, and their distribution deal was dropped.  Mike Curb was not interested in putting more money and more energy into a label that looked like it would continue to be disastrous.  No one else would touch it.  The result would also be disastrous to The Bards/Moses Lake. They’d mostly finished their album after working many months on it, but were now without a label to release it.

Producer Curt Boettcher suggested the band return to Moses Lake with him coming along as the band’s lead singer. This suggestion did not go over well with all members of the band, and going through an ordeal like the one with Together Records again was too much.  Apparently Mardi Sheridan and Mike Balzotti  had already seen the writing on the wall and left the band.  Chuck Taylor decided he’d spent too many years and too many miles on the road and wanted to return to Moses Lake to spend time with his family. Drummer Bob Galloway chose to keep the band going with a series of players until 1972.  Bob was the only original member, but “new” Bards found gigs in the Northwest, although never found the kind of success or popularity of the classic 1965-1968 line-up.  Despite their disparate reasons for dissolving The Bards/Moses Lake,  the band agrees the split was amicable.  This was reinforced when the band re-united one more time to celebrate Mike Balzotti’s 40th birthday in 1987.

The Bards work for Together Records was not a complete failure, though. The label had released a single from their “Moses Lake” sessions.  The single, “ Oobleck” b/w “Moses” was finally released under the band name, Moses Lake in 1971.  The A-side, “Oobleck “ was inspired by Dr. Seuss’s 1949 book Bartholomew and the Oobleck” with music by Mike Balzotti.   Although it has an intro that seems to go nowhere at first, and sounds appropriately Seussian, it becomes the kind of unexpected song that rings “genius” and leaves a person wanting more. Even though it’s launch was completely ruined by the concurrent collapse of their label there are a few copies to be found on the collectors market.

One other unexpected results was that without a label the band no longer had a contract with Together Records.  Their contract had not been bought-up by another label-they were, in fact, free agents. The tapes of the “Moses Lake” sessions would remain in their hands and under their control.  But life has a way of keeping us from reliving unfortunate and discouraging  past events.  Better to concentrate on the present and future than to revisit the past…so the “Moses Lake Recordings” stayed with Balzotti, without public exposure, for three decades.

Mike Balzotti was surfing the web one day and came across the site for Gear Fab Records out of Orlando Florida. Gear Fab releases what they term “Legitimate and Authorized re-issues of Psych, Garage and Rock Sounds, 1965-1972” Since the band had already come across an unauthorized bootleg of their early Piccadilly recordings along with a few later Bob Galloway-era songs, Gear Fab seemed like a natural, ethical  label to release their only album  on.  If not for this re-issue The Bards would probably be near-forgotten today.  With help from Gear Fab head Roger Maglio, the record was re-mastered for CD and released in 2002.

The album is still in print and is a great reminder of how psychedelia, pop, good songwriting , lyrics (even borrowing from the masters) and great musicianship combine to make a total much more than the sum of it’s parts. Despite the material on the album being stellar, the title is a bit cumbersome.  Officially it is “The Bards resurrect ‘The Moses Lake Recordings’ Produced by Curt Boettcher and Keith Olsen featuring ‘The Creation’. But no matter, it’s not that difficult to simply search for “The Moses Lake Recordings” Even though it sounds as if the recordings were done in Moses Lake they were not.  The title is meant to point to the band’s re-naming.  Over three decades since it was first recorded this album seems revolutionary in it’s mix of pop, garage, psychedelia, bubble-gum and prog-rock.  It’s final release is truly the end of an amazing story.

One last note;  Near the end of the documentary “I Am What I Play” Pat O’Day, the dean of west coast AM-Top 40 DJs was asked was asked what NW group deserved greater national recognition. His answer? “The Bards

 

-Dennis R. White.  Sources:  Don Rogers “Dance Halls, Armories and Teen Fairs” (Music Archives Press,1988); The Bards (http://mikebalzotti.com/BardsHomePage.htm); Richard Flynn (“Woodstock Rock RTR-FM 92.1,Perth Australia”); Stanton Swihart (The Bards Artist Biography. allmusic.com); Chuck Warren “The Bards Interview” (http://home.uni-one.nl/kesteloo/bards.html); “The Bards” (discogs.com);  Mike Dugo “The Bards” (The Lance Monthly, Volume 4, No. 3, May 2002); Peter Blecha “Inland Empire Rock: The Sound of Eastern Washington” ( HistoryLink.org Essay 7490); “Resurrect The Moses Lake Recordings by The Bards” [album20909] (rateyourmusic.com); Stanlynn Daugherty “Rock ‘n Roll Group Draws Anxious Crowd” (The Lantern, [Pendleton Oregon], Friday November 1, 1968); Beverly Paterson, Review of The Moses Lake Recordings  (September 23, 2002. The Lance Monthly); Mike Flynn “Once-obsure political race in Moses Lake takes on new import for areas’s economy. (Flynn’s Harp [Columbia Basin]  November 16, 2011)

 

The F-Holes

The F-Holes formed out of a jam session on Nov 21, 1984 at The Central Tavern near Seattle’s Pioneer Square. The original members were “Lucky” Tony Mathews, Douglas “Stringtie” Creson and John “Moondog” Mooney. The jam consisted of three songs. The booker was impressed enough to ask them to open for his band, The Alleged Perpetrators on Dec 14, 1984, and a band was born. Since that night The F-Holes have consistently been part of the Seattle music scene.

One night while Stringtie was playing pinball at a tavern with Kevin Heaven (a local musician and well-known scenester)’ Kevin said;“You gotta check out my new f-hole guitar!” Stringtie went home that night and made a poster. He brought it to rehearsal the next day. “We are the F-Holes” he told them.  The newly-named outfit’s drummer, John “Moondog” Mooney asked;“What am I gonna tell my Mom?”

1985 brought a solid stream of bookings.  The bookings continued.  The first few years The F-holes played more shows than they rehearsed. Doug Creson recalls;

“We’d rehearse on Wednesdays and play shows Thursday , Friday and Saturday”.

Things changed in 1986 when the F=Holes added Otis P. Otis on lead guitar. He was a huge Johnny Thunders fan and brought a heavier sound that lead the band into the pre-grunge era. The original F-holes sound included generous heaps of Psychobilly, Cowpunk, Garage Rock, Punk, Acid Blues and 60s Psychedelia. They add they also play Country music, though they add

“we’re not sure which country“.

Along with Otis  came a sound that brought the band to a new level and wider audience. They still played the same music as before-only heavier.  Their look was still psychobilly with the big pompadours and cowboy boots and bolo ties.  That would change in later years, but for the earlier part of their career the band was known for their appearance as much as their music.  Both were fun, over the edge and a little bit retro as far as their dedication to punk.

“Promoters always had a hard time pegging our sound but we played with all kinds of bands. Punk, Alt Country, Grunge, Power Pop” says Creson.

The biggest misconception may be that the F-Holes are a rockabilly band.  It’s a claim the band adamantly deny.  Since the beginning they’ve always played a few rockabilly-tinged numbers, and they often dressed in a style associated with rockabilly.  Still, it’s hard to listen to them without thinking they’re nothing less than a great punk-pop band with the talent to pull off just about anything they throw out to their audience.

Th band is also known for wicked sense of humor.  In 2011 when the magazine Seattle Sinner asked them what their fondest Christmas memory was Creson told the interviewer;

“We played a Buzz Scooter Club party in an abandoned building with 64 Spiders. On the way to the gig we bought a sheet of windowpane acid, 100 hits. At the party we dissolved the acid into the punch bowl. People were drinking kegger cups full of this shit. By the time we finished our set everyone was just flying, wandering around lost on the upper floors like wide eyed zombies. I wonder how many bodies they found when they tore that place down. This was in 1984, back when you hipsters were still crappin’ in your diapers and sucking breakfast out of your mama’s knockers”.
True story.

By the mid ‘90s band members drifted into other bands, failed marriages, rehab and dead-end corporate jobs. They played a few uninspired shows, now and again…not really breaking up, just not playing with the same passion and frequency as before.

In 2006 The F-Holes were invited to play Geezerfest at Seattle’s legendary Crocodile Cafe. It was a
showcase of bands that helped create the alternative sound and so-called “grunge” Seattle had become known for in the 1990’s.   These were long-time workhorse bands that had actually developed the sound, others had built their success on, but despite their talent were overlooked getting signed to a big record deals. Along with The F-Holes, the line up included bands like Catbutt, Coffin Break, Swallow, Snow Bud and The Flower People,  Blood Circus, Love Battery, and  other worthy bands.

The F-Holes showcase was so well-received that it led to their playing steady ever since. Now in their 33rd year of rocking their fans remain rabidly loyal, and friends are bringing their kids (and grandkids?) to their shows.

The F-Holes recorded output over the years has been sporadic…in fact there’s been only a few recordings available; but the good news is that they’ll be entering into the studio with Jack Endino in 2018. They’ve also found a newer and younger audience while keeping the old-timers.  An Endino-produced album looks promising.

The Stranger magazine’s Mike Nipper observed that after so many years;

“The F-Holes are, dare I say, a smart and (ahem) “songwriterly,” kickass punk group, and live they’re driving as a mofo”.

Even more fitting, on their website the F-Holes simply say “Totally Skankin’ since 1984”.

 

-Dennis R. White-Sources; Doug “Stringtie” Creason;  The F-Holes (home page, http://fholesrock-blog.tumblr.com); Mike Nipper (The Stranger, February 23, 2016); The F-Holes (thatsdadastic.com, 2010); Chuck Foster (“The F-Holes Unmasked: F-Holes Celebrate 28 Years of Being Misunderstood”  Seattle Sinner, December 2011)

The Ventures

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 owned a guitar.”  

So off they went to a Tacoma pawnshop where both of them bought very cheap guitars. They say the guitars were less than $10 each.  Over the next few months the two practiced every moment they had between jobs…and they were frequently out of work.  Soon the two were making the rounds of local bars, house parties and any other gig they could find.

Meanwhile bassist Nokie Edwards had begun playing around Tacoma with Buck Owens’s band The Bar-K Gang.   Owens also hosted the KTNT “Bar-K Ranch” TV show that gave Owens (and Nokie) even more local exposure. Sometime in 1960 Wilson and Bogle saw Edwards playing in a Tacoma club (possibly Steve’s Gay 90s where Owens’s band had a residency).  After about a year Nokie left Buck’s band behind to join Wilson and Bogle This move had unknowingly helped spawn two superstar bands.  Owens soon switched fiddler Don Rich to guitar in his newly formed band, The Buckaroos, while Nokie helped fill out The Ventures– a band that would later be dubbed as “The Band That Launched A Thousand Bands”, The Ventures.”

By the time Nokie had joined Owens band he was already a known as a regional virtuoso guitar player.  He’d played professionally since he was 17 and managed to make a very good living with many gigs paying up the $350 a week.  By the time Bob Bogle and Don Wilson lured him into with them he was certainly taking a big financial hit.

Originally Bogle and Wilson had chosen the name The Versatones, but as Don Wilson put it;

“We started out calling ourselves ‘The Versatones’. When we went to register the name, we found out that it was already taken. We were disappointed then, and my mom said, ‘You are venturing into something new, so why don’t you call yourselves The Ventures’?”  I thought it sounded pretty corny, but anyway it stuck!’

This wouldn’t be Wilson’s mothers’ only contribution to the band.  After The Ventures had shopped around for a recording contract (and failed) Josie Williams founded Blue Horizon Records, and arranged studio time at Joe Boles legendary West Seattle studio Custom Recorders.  The Ventures recorded their first single “The Real McCoy b/w Cookies and Coke” with Boles.  Josie wrote the lyrics to Cookies and Coke and produced both sides.  The single was a flop,  but it wasn’t long before Josie booked more time at Custom Recorders and Walk-Don’t Run” was recorded. Bogle played lead guitar with Wilson on rhythm, Edwards on bass, and Skip Moore on drums .  The tiny label pressed up only 300 copies, and distributed them locally.  Unfortunately for Moore, he had decided to leave the band and work for his father’s gas station.  He agreed to be paid $25 for his work on the recording instead of a royalty sharing deal…a mistake that would deprive him of royalties even after a lawsuit a few years later.  Moore was replaced by drummer George T. Babbitt, Jr., but at 16  he was too young to play bars and taverns The Ventures were often hired to perform in.  Finally the band hired Howie Johnson in order to go out on tour in support of their major hit and new-found popularity.  In the fall of 1961 he was involved in a car crash, causing him irreversible spinal damage. Johnson managed to play drums while wearing a neck brace. Beside touring he drummed on the first four Ventures albums and  half of the tracks on the fifth LP.  He ended up quitting in order to spend more time with his family and occasionally played locally throughout the rest of his life.

Josie Wilson pushed Walk-Don’t Run day and night to anyone who would listen. Out of the blue local entrepreneur, DJ and radio station owner Pat O’Day started using a portion of Walk-Don’t Run as a “kicker” (intro) to his newscasts  on his wildly popular radio station KJR.  Listeners wanted to hear more, so KJR put the entire song into rotation.  Soon legendary Seattle label Dolton Records were beating a path to Josie’s door to pick up The Ventures’ contract.  The irony was not lost on Josie and the band that they had previously auditioned for Dolton, but had been turned down.  Though Dolton heads being a bit embarrased theywent on to re-release Walk-Don’t Run on their label.  At the time Liberty Records was their distributor so Dolton licensed the rights to the much bigger and more powerful national label.  

It’s well known that the band had been introduced to Walk-Don’t Run through Chet Atkin’s 1956 version of the song included on one of Bob’s favorite albums; “Hi-Fi In Focus”.  Yet the song had originally been written and recorded by jazz-great Johnny Smith in 1954.  The Atkins version is more syncopated than the very jazzy Smith version.  Both are fine renditions, but The Ventures would put their own Imprint on it- as they did on other recordings-creating yet a third dynamic version of the song. Both Chet’s and Johnny Smiths are worth a listen.  Both are as individual and inspiring as The Ventures’ forward-looking interpretation.  In 2011 Don admitted

“He (Chet Atkins) played it in a classical jazzy style and we couldn’t play it like that. We weren’t good enough. So we decided to make our own arrangement of it and simplify it and that’s how that happened.

Having found a local label with national distribution propelled “Walk, Don’t Run” to number two on the Billboard pop chart and sold over a million copies.  When the Ventures relocated from Seattle to Los Angeles in 1963, Josie Wilson remained the band’s co-producer in tandem with Dolton owner Bob Reisdorf.  Years later she was also instrumental in getting fans to demand The Ventures be inducted into The Rock and Roll Hall of Fame. During her life she became a savvy business person, a respected producer and one of the first to kick down the doors of the music industry to women. Surprisingly it was another woman-Bonnie Guitar-who grew up just a few miles north of Tacoma-who would also be instrumental in gaining respect for women in music circles.  Josie Wilson remained a trusted insider of The Ventures until her death at the age of 91 in 2007.

Their second release was a re-working for a 1940 Xavier Cugat hit called Perfidia. It only reached number 15 in the charts, and was followed by a steady flow of singles that stalled in the nether end of the charts; but album sales were always a more important money-maker than singles. The band would never see such spectacular single’s success aside from their 1964 re-make of Walk-Don’t Run (it reached number 15 in the US charts) and 1969’s “Theme From Hawaii 5-0” which reached number 8 in the charts.  Oddly enough the theme for “Hawaii 5-0” had been written by director Morton Stevens as a short opener for the show.  It wasn’t until The Ventures full recording of the song that it became a fully-formed song.  The addition of horns to the song may have seemed an odd move for the band, but they utilized brass sections on and off during their career…and fans love “Hawaii 5-0″.  It also didn’t hurt that they’d get a short listen to it once a week on television.

Although The Ventures would have few hit singles, they made up that by releasing hit after hit albums.  They may be the world’s first band that relied on album sales rather than singles.  This was unusual for the 1960s and would only become more common in the 1970s with the advent of FM radio.  When Dolton Records re-located their main offices to Los Angeles in 1963 it was to the detriment of Northwest artists, but an incredibly valuable move for The Ventures. It meant better studio facilities and closer contact with Liberty Records and their distribution executives.

The Ventures set the stage for a guitar line-up that has now become the typical formula; Lead, rhythm and bass guitars backed by a great drummerThe formula was not unheard of before but the band did a lot to popularize it.  They’d also created “the big guitar sound” and although instrumentals were at the core of the late-50s/early 60s Northwest Sound, The Ventures were introducing a new approach that did not heavily rely on  R&B and the ever-present organ.  They were interested in technical advancements as well as new sounds. Over the years they would be pioneers in distortion, reversing tapes, bringing the Theramin to rock and heavy use of vibrato as well as a myriad of other  effects.

Soon after Bob Bogle’s death in 2009, fellow guitarist Don Wilson told The Los Angeles Times;

“Any guitar player would tell you, Bob is the most unique-sounding guitar player ever. The way he used to do the whammy bar — that vibrato bar. He kept his little finger on it while he played it all the time. He’d make it sound, like at the end of a chord, Wow-wow.

Soon after the success of Walk-Don’t Run drummer Howie Johnson (a guitarist in his own right) suggested that Bob Bogle and Nokie Edwards trade places resulting in Bogle as bassist Edwards as lead guitarist.  The formula worked, and the transition was amicable.  It made the band more of an overall talented unit.

Howie Johnson left the band in 1962 he was replaced by Mel Taylor who had been a house drummer at the well-known Los Angeles club The Palamino.  Taylor had already made his mark as a drummer for Herb Alpert and as a member of Bobby (Boris) Pickett’s band who had recorded the seasonally perennial hit  “The Monster Mash”.  On a side note, Mel’s younger brother, Larry, became the bassist for Canned Heat and before that had been a session bass player for Jerry Lee Lewis and The Monkees among others.

One of the reasons The Ventures deserve the moniker “The Band That Launched a Thousand Bands” was their release of several volumes of the “Learn To Play The Ventures” series.  The learning process came to be known as “guitar phonics“. This was a completely new approach to learning guitar and bass.  There had been written “how to…” books  before The Ventures.  There were also a few recorded tutorials.  But there had never been a series of lessons by the bands players themselves to teach kids (and adults) to play specific parts of their own songs.  There’s many a modern artist that proudly admit to having learned to play with The Ventures’ series.  The first volume of the “Learn to Play….even showed up on the popular music charts.

The Ventures were also one of the first bands to take advantage of  fuzztone.  Ventures afficianado’s can’t seem to agree how the fuzz was first created.  Some claim it was the Mosrite guitars’ pickups they were using at the time, the Mosrite Fuzz-Rite or The Maestro FZ-1 Fuzz-Tone.  No matter the source, it would become one of The Ventures signature sounds.  Musicians and fans have cited their 1962 single “2,000 Pound Bee” as the first use of the fuzz guitar, but it’s clear it had been used by Ike Truner as early as 1951, on the Memphis recordings of Howlin’ Wolf (1951-52), Johnny Burnette’s “Train Kept a-Rollin” (1956) and Link Wray’s “Rumble” (1958).

In  1963 the band had entered into a deal Mosrite to play live with a series of Mosrite guitars that were specially designed for The Ventures. Before the Mosrite period all three guitarists had  played production models of the  Jazzmaster, the Stratocaster and a Precision Bass.  Mosrite  founder, Semie Moseley had built a guitar that he lent to Nokie Edwards for some recording sessions.  Soon Edwards had bought his own Mosrite and within a year The Ventures had an endorsement and co-distribution deal that made Mosrite a common name among guitarists.  The deal lasted until 1968, and aside from the use of Mosrite guitars, there are some archival photos of the band using the Mosrite Award solid-state amps from the Ventures’ Mosrite Distributing Company.  Despite their popularity with musicians this particular model would never go into mass production.

It was probably Nokie Edwards who had been the most instrumental in popularizing the well-crafted series.   Along with the endorsement and use of the Mosrites the guitar manufacturer sold the series to consumers with a label “The Ventures” on the headstock.  It began a mini-craze for the model that remains to this day.  Guitarists from Jimi Hendrix to Arthur Lee to Kurt Cobain have all played Mosrite’s.  Bands like the MC5 and The Ramones have used them. According to Mosrite’s  promotional material,  the company claims“Jimi Hendrix had two Mosrites. Jimi would commonly smash and burn his easily replaceable Fenders but the Mosrite’s were treasured and well taken care of.  The doubleneck used on Spanish Castle Magic is today on display at the Rock & Roll Hall Of Fame”  They go on to say ” Virtually everyone who is anyone has owned a Mosrite at some time in their life”.  This is probably closer to truth than hyperbole.  Despite the quality of the instruments once the endorsement deal ended all three guitarists returned to the use of Fenders  Years later, n 1996 Fender released a limited edition Ventures Signature Series of guitars consisting of their original  Jazzmaster,  Stratocaster, and a Fender Jazz Bass.  This time the band had a hand in their design and specifications.  When Nokie Edwards left the band in 1968  he reverted to his Mosrite  During this hiatus Edwards was replaced by Gerry McGee and Edwards reverted to his Mosrite guitar for solo projects during this period.  When he returned to The Ventures in 1973 he again played a Fender, though occasionally pulled out his Mosrite.

The Ventures had also made a very savvy move in licensing their music to Japanese labels that would include Toshiba/EMI. Japan is the world’s second largest market for recorded music-The Ventures popular appeal in Japan came just as electric guitars were first being marketed in Japan-  Soon The Ventures and their use of the electric guitar were in such popular demand that they began to tour extensively in Japan.  Throughout their career they have been a huge draw in Japan.  The move to satisfy the Japanese market would provide a boon when The Ventures became less popular in the US during the 1970s.  They also recorded and released about 50 albums specifically for the Japanese market, while continuing to tour Japan on a regular basis.  After the 60’s their US output did modest sales and a dedicated fan base did not diminish in Japan.  The very fact that the band had never been dropped by a major label until late in their career allowed them to record and release the vast number of albums they’re known for. .  They also licensed their recording to labels all around the world. The Ventures were consistent sellers no matter what label was issuing or distributing.  Even poor promotion would not detract from their strong fan base.  But great deals with the Japanese and European markets brought in good royalties and a savvy approach to contracts and their huge audience outside the US (even to this day) was a large part of The Ventures success even as music fans at home were turning their backs on what was becoming considered dated artists.

At the advent of the 80s the Surf Sound, along with Rockabilly began to pique the interest of musicians and fans on the outer fringes of popular music.  At first the interest was largely a novelty (who can forget the silly “poodle skirt” era of the 80s?)  The Ventures  became associated with post-modernism-a slightly jaded form of kitsch that was meant to be shared by folks supposedly “in-the-know”  But as the popularity of bands like The Cramps and The Stray Cats became more serious, musicians and fans followed suit.   An entire genre of “surf punk” music arose with bands like Agent Orange, The Forgotten Rebels, and of course The Surf Punks at the forefront.  Many other bands would pepper their output with a surf or rockabilly song or two.  Later film directors used surf music in their film soundtracks.  Quentin Tarantino was instrumental in this by including classic surf tracks in his movie 1994 film Pulp Fiction.  Although their profile had been rising during the 80’s The Ventures were once again on top.

A new generation had found The Ventures…and took them seriously as masters of American pop culture. Sales of their old (and new) albums picked up.  More and more live dates in the US and in Europe were being booked…at first in smaller clubs, but they were finding the venues were getting bigger.  By the time the huge corporate-sponsored era of festivals  became fashionable the band was playing in front of crowds in the tens of thousands…or even hundreds of thousands.

Finally in 2008  one of the band’s dreams would come true.  It was also the dream of Josie Wilson, who had died a year earlier. The Ventures finally were inducted into the Rock and Roll Hall of Fame.  Artists become eligible only after the first 25 years of their careers.  The Ventures had passed that mark by 22 more yearsThe night of their induction by John Fogarty (Creedence Clearwater Revival) two of the “classic era” members of The Ventures were on hand; Nokie Edwards and Don Wilson.  Bob Bogle and Gerry McGee were unable to attend.  Being ignored by the Hall of Fame so long had been a bitter pill for Don Wilson, but when asked  “Why so long?” Wilson simply said “All we did was quietly sell millions of records.”  In 2010 The members of The Ventures were also awarded  The Order of the Rising Sun by the Emperor of Japan. The medal originated in 1875 and symbolizes “energy as powerful as the rising sun.” The ceremony took place at the Queen Anne  consulate.  During the ceremony Japan Consul General Kiyokazu Ota said”

The Ventures’ unique ‘teke-teke sound’ … grabbed the heart of many Japanese young men and women. These young fans in turn formed groups of their own, thus creating a huge boom of electric-guitar sales in Japan.”

So what of the players that have been part of The Ventures?

In 1972 drummer Mel Taylor left the band to pursue a career because he felt The Ventures had become a “nostalgia act“in and was replaced by drummer Joe Barile.  Taylor returned in 1979 and remained with The Ventures until his death in 1996 of cancer and heart failure.  After his death his son, Leon Taylor took over his duties as drummer.

Gerry McGee also left the band only to return.  He walked away in 1978 to work as a solo artist as well as recording and touring with Dwight Yoakum, John Mayall, Kris Kristofferson and others.  He returned to The Ventures in 1985 and is the only active remaining member left from any of the 1960’s line-ups.  During a subsequent tour of Japan McGee suffered a heart attack, but recovered and continues to play with the band.

Bob Bogle had belonged to the recording and touring outfit until his health began to deteriorate.  He retired from touring in December 2004 and was replaced by Bob Spalding.  He had lived in Vancouver, Washington, for years and died there on June 14, 2009, at 75 of non-Hodgkin lymphoma;

Howie Johnson, the neck-braced drummer that stayed with The Ventures for their first few tours and albums passed away in January of 1988.

Skip Moore who had been the actual drummer that had played on Walk Don’t Run had died in 1988.  Some musicologists have argued that it was Johnson who played on Walk-Don’t Run using the pseudonym “Skip Moore”, but the evidence points a different direction.

Nokie Edwards left the band a second time in 1984 to work in Nashville with Country and Western artists including lead guitar on Lefty Frizell’s final album.  Edwards re-upped with The Ventures for a short time in the late 80’s but soon returned to Nashville and began a very successful career with producer and fellow musician Art Greenshaw.  The critically acclaimed collaboration of Edwards and artist-producer Greenhaw has resulted in Edwards being nominated for “Grammy Award for Best Southern, Country or Bluegrass Gospel Album of the Year” with 2005’s  “20th Century Gospel”  andSouthern Meets Soul”in 2006.

Bob Spalding has remained part of The Ventures while pursuing his own solo projects.  In 2016 Bob’s son, Ian Spalding’  became The Venture’s bass guitarist. Bob now lives in San Bernardino CA.

In 2015 Don Wilson retired from touring and recording with The Ventures.  Since then he continues to keep the memory of the original outfit in  public view.  He now lives in Sammamish WA.

And what of the young George T. Babbit Jr., who, at 16, was too young to play with The Ventures?  Soon after his departure from the band he went to college and joined the ROTC.  He then enlisted in the US Air Force and rose to the commission of 4-Star General. Between 1997 to 2000 he served as Commander of the Air Force Materiel Command (COMAFMC).  On March 1, 1998, (while on active duty as 4-star general), he joined The Ventures onstage in uniform on drums.  He is now living in retirement in Bremerton WA.

 

The current touring line-up of the Ventures is:
Gerry McGee – Lead Guitar (joined in 1968)
Bob Spalding – Lead & Rhythm Guitar (joined in 1981)
Leon Taylor – Drums (joined in 1996)
Ian Spalding – Bass (joined in 2016)

 

-Dennis R. White.  Sources: Del Hartleman”Walk Don’t Run-The History of The Ventures ( Del Hartlman, 2011); Jame Bush. “Encyclopedia of Northwest Music” (Sasquatch Books, 1999); Jim Clash “The Ventures’ Don Wilson On His Big Hit Single Hawaii Five-O, More” (Forbes Magazine,

 

 

Nancy Claire

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 to the number one position on the US Billboards charts in 1959.  Their music did as spectacularly well in Britain, Canada and the rest of the world.   “Come Softly to Me” by The Fleetwoods  was Dolphin/Dolton’s very first commercial release.  The label  had pulled-off something incredible, even today…an independent, regional label releasing a bona fide, massive hit on their first outing.  Fortunately the label  was widely available due to distribution from Liberty Records in the US and with London Records almost everywhere else in the world.  The second release by The Fleetwoods, Graduation’s Here, did well but it wasn’t until their third release that the band and label landed another number one single and worldwide hit.  Mr. Blue was also released in 1959 and helped make The Fleetwoods one of the best selling trios in the late 1950s

Aside from Barbara Ellis and Gretchen Christopher-along with Gary Troxel-becoming stars arising from the Northwest, there were a few great female singers waiting on the sidelines until regional bands realized that featuring a female singer in one of two songs was a bright move.  Among those waiting in the wings were Merrilee Gunst (later Merilee Rush) a very young and incredibly talented Gail Harris in Tacoma who had appeared on Buck Owens’ radio show and would later sing with Tacoma’s Fabulous Wailers.  But a young woman from Kent, Nancy Claire, was the most sought-after female vocalist in the Northwest.  She would end up singing and recording with the cream of the crop of NW music, notably as a featured vocalist for The Dynamics, The Exotics, and maybe the most popular Seattle white R&B band of the early 60s, The Frantics. The floodgates for featuring girl singers on a couple of songs at live gigs had opened.  In 2009 Seattle Music historian Peter Blecha wrote:

“…scores of Northwest combos joined in the fun and some cool records were one result. In Seattle, Ronnie D. and the Valiants featured Pam Kelley on their “Cherry Darlin'” 45; the Duettes (with Bonnie and Ann Sloan) sang their teen-dream ode, “Donny,” and Barbara McBride and the Nomads cut “The Only Reason”; Walla Walla’s Frets featured Janie Hanlon on “Do You Wanna Dance”; Moses Lake’s Fabulous Continentals cut “I’m Not Too Young” with Marsha Maye Covey; Tacoma’s Cindy Kennedy cut “Skateboard” and Patty Q recorded “Help Me Baby”; Olympia’s Stingrays featured Cheri Robin on “The Dance”; and Wenatchee’s Linda Jo and the Nomads recorded “Stop Your Cryin’.”

And plenty of other Northwest bands with girl singers never issued records, including Tacoma’s Sonics (with “Miss” Marilyn Lodge), Solitudes (with Dani Gendreau), Regents (with Sandy Faye), Galaxies (with Andy Haverly), and Statesmen (with ‘Fabulous’ Juliette); Seattle’s Neptunes (with Melody and Merilyn Landon), the Dynamics (with Randi Green), and the Pulsations (with Darlene Judy); Bremerton’s Raymarks (with future country star Gail Davies); Aberdeen’s Beachcombers (with Jocelle Russell and/or Shirley Owens); Olympia’s Triumphs (with Janet Weaver); Tenino’s Hangmen (with Sandy Smith); Sequim’s Eccentrics (with Pam Clark and/or Nancy Warman); Winthrop’s Danny and the Winthrops (with “Miss” Tessie Thomas); and Spokane’s Runabouts (with Mickey Davis).

But it was Nancy Claire who was in most-demand.  After playing dozens of gigs with an almost unbelievable amount of  well-know Seattle bands, the owner of Rona Records, Nacio Brown Jr. took notice and flew Nancy down to LA in 1961 to cut a few songs for his label.  Nancy was whisked off to Hollywood to pursue a solo recording career.  Her initial route to wide exposure was propelled by the release of “Danny” b/w ” Y-E-S!”.  She toured on the strength of that single and Warner Bros. took advantage of her popularity by licensing the single from Rona…Unfortunately her second release on Rona (Cheatin On Me b/w Little Baby) released in 1962  failed to catch fire among national radio stations, so Nancy returned to Seattle and continued to sing and hang out with dozens of then-important Northwest Sound musicians.  After her return from California she expressed ambivalence about her time in Hollywood.  She had done sessions with excellent musicians, producers and arrangers but the mold  record execs tried to put her into didn’t comport with her natural instincts for R&B and Rock & Roll.  It was, she said “not my bag”.

Nancy was approached to record in Hollywood again in 1963.  It was also to record again with Nacio Brown Jr. but this time the label would be the highly regarded World Pacific Records.  Nancy was put in the studio with a full orchestra and the sessions produced two more singles. (“I’m Burnin’ My Diary” b/w “The Baby Blues” and “Last Night” b/w “Charlie My Boy”  In retrospect both are fairly interesting singles, but top 40 radio at the time all but ignored them, and Nancy headed back to Seattle where she was truly appreciated


Once back in place as the Northwest’s most sought after vocalist Nancy joined up with The Viceroys.  In 1964 legendary radio personality and promoter Pat O’Day took notice.  He put them in the studio to record two cover-songs (Death of An Angel and Earth Angel)  and arranged to have the single released on the prestigious Imperial Records label.  The Viceroys (with Nancy Claire) single went nowhere, and it would be the last attempt by Nancy to release a national recording.

Although Nancy used the name “Claire” she was actually born in 1943 as Nancy Claire Penninger. She used Nancy Claire as her stage name-and who could blame her?  The name seemed so much more fitting for the petite, beautiful girl onstage.  Years later Nancy would officially change her surname to “Claire”  but most of her fans would never see her as Nancy Penninger in the first place. The name she chose to work under seemed so fitting.

Nancy’s earliest exposure to music wasn’t jazz, R&B or Rock and Roll.  It was Country & Western, mostly influenced by KVI DJ, Buck Ritchey and her exposure to his radio program.  Buck Owens also played a role.  Buck did a show on a station he co-owned (KAYE) in Puyallup WA.  As a young girl Nancy had played as an amateur with several C&W outfits, but it wasn’t until Nancy was invited to appear on a talent show televised by Tacoma’s KTNT that she got her break. A local Tacoma band The Versatones also appeared on the same show.  The Versatones had been founded by Don Wilson and Bob Bogle two masonry workers.  Their band would face adversity and challenges before emerging a couple of years later as The Ventures…the most successful instrumental band in rock history.

Del Halterman’s recounts in his book “Walk-Don’t Run: The History of The Ventures”  that Nancy
“strummed a guitar and sang cowboy songs under the watchful eye of her mother. When the TV show ended, the mother introduced herself to [the Versatones] as Nancy’s manager and described a problem that she hoped they could help solve. …[Clair’s] limited ability on guitar restricted the number of songs she was able to sing. Impressed with the Versatones, [she] proposed that they back Nancy on her show. There would be no pay, but [she] would bill the act as ‘Nancy Claire and the Versatones.’ Radio exposure being valuable and not easily obtainable, they accepted and proceeded to perform with her on KAYE each week for about two months”. (sited by Peter Blecha)


I
n fact Nancy occasionally reverted to her C&W roots as an adult and in 1965 she toured the west coast with some of the biggest country stars of her day-The Carter Family,  Skeeter Davis, Marty Robbins, and Merle Travis.


As the 60s progressed and The Northwest Sound made way for more rock, folk-oriented and psychedelic music.  Nancy spent more and more time raising a family, even though she drifted in and out of the music scene and kept up with old friends even though she was no longer in the public eye.  She wasn’t exactly forgotten, but she was certainly seen as a figure from a different era-even if that era had only been 5 or 6 years earlier.  As the 1960s wound down, Claire began singing with a hippie flower-power group, Paleface.  The band found modest success around the Tacoma and South Seattle.  She also sang with the bluesy band Easy Money, and later with a Top 40 band, The Royals.

Although Nancy appeared onstage less frequently she occasionally sat-in with some of her old  pals, and from 1970 thru 1972 she made regular appearances with Jr. Cadillac, a loose aggregation of players of former 50s and 60s regional bands. The line-up often consisted of the late Buck Ormsby (The Wailers), Bob Hosko and Jim Manolides (The Frantics), Jeff Afdem (The Dynamics and Springfield Rifle) and Harry Wilson (The Casuals and The Dynamics), drummer Steve Moshier (The Turnabouts) Les Clinkingbeard and Ned Neltner (Kidd Afrika/Issac Scott/Mark 5), Tom Katica, who passed away in 2010, and a host of others.  The band has played continuously since 1970 and plenty of well-known Northwest Sound artists have sat-in over those 47 years.

Nancy has also sat in alongside Merrilee Rush, Kathi Hart, Kathi MacDonald, Patti Allen as the Seattle Women in Rhythm and Blues,  She continued to make occasional sightings during the 70’s and in 1980 she took part in “The Great Northwest Rock and Roll Show” put together by  Jr. Cadillac gathering featuring Anthony “Tiny Tony” Smith,  Little Bill Englehart and The Wailers with Gail Harris. Nancy also took part in Jr. Cadillac’s 12th Anniversary party at Parkers Ballroom on Aurora Avenue-one of the premier venues that hosted teen-dances in the late 50s and 60s.

Today Nancy sings with “Blues On Tap” featuring Steve Peterson, a 2013 nominee by the  Washington Blues Society for  Best Male Blues Singer; Bruce Ransom who’s shared bills with Taj Mahal, Elvin Bishop, Roy Gaines, Kenny Neal, Billy Branch, Jimmy Burns, Mitch Woods, Deanna Bogart, and Eden Brent;  Ray Hartman who’s credits include a long stint with the Dick Powell Band who’ve opened for B.B. King and The James Cotton Band; and Jim Plano former drummer of the psychedelic-era Crome Syrcus among other gigs.

Over the past few years Nancy Claire continues to show up now and again, even though her audience has aged along with her.  .  Her singles, although ranging from modest hits to flops are worth a listen and various you tube vids of the music is online.  As the one-time First-Lady of Seattle R&B she certainly deserves attention from a younger audience that can take a snapshot of Seattle’s original burst onto the national scene.

Nancy Claire is also a two time winner of  The Northwest Music Associations Hall of Fame Award. Both awards are well-deserved.

 

-Dennis R. White.  Sources; Peter Blecha, “The Great Northwest Rock and Roll Show reunion gig of local rockers kicks of on July 20, 1980″ (NWHistoryLink.org, Essay 10375, April 14, 2013); Steve Flynn,”The Music” (stevenflynnmusic.com, 2017); Peter Blecha “Nancy Claire (b. 1943)” (HistoryLink.org, Essay 10374, May 8, 2023): Del Halterman, “Walk-Don’t Run; The History of The Ventures” (LuLu Books, May 11, 2009); Peter Blecha, “Women of Northwest Rock: The First 50 Years (1957-2007)” (Essay 8935,HistoryLink.org); “Blues On Tap”, (bluesontap.net/bios.php); Photo courtesy of Nancy Claire.

 

Silly Killers

The Silly Killers are one of early 80s Seattle punk bands that would probably be forgotten years ago if it wasn’t for the fact that former Guns N’Roses’ Michael “Duff” McKagen was a member for a short time.  One has to wonder what rabid metal fans would have felt if Duff had continued playing in a multitude of punk bands before becoming famous in one of the all-time most successful metal bands in history; after all McKagen, from a very young age, was one of the most prolific members of early Seattle punk.  Most likely all of his hard work might have been little more than a footnote were it not for relocating from Seattle to Los Angeles-being a footnote is a fate he obviously would not deserve.  But in spite of McKagen’s short time with the Silly Killers, they had already become stars in their own right among Seattle’s punk community. The Silly Killers’ reputation in recent years has also has been heightened by new-found interest in their only 7” recording of what’s usually referred to as the Knife Manual EP, and two other hard to find tracks that have only been “officially” released on the excellent 1983 cassette “What Syndrome” put out by local label Deux Ex Machina Records And Tapes in 1983.

Then there’s Slats (born Chris Harvey) founding member of the Silly Killers who died in 2010 after years of being an iconic figure not only in the punk community, but in the city at large. Despite his ongoing addiction and alcoholism Slats made the rounds two and a half decades as a highly visible character in both Seattle’s University District and on Capitol Hill.  Some worried about him.  Others made bets on how long he would live.  Aside from that Slats was a genial, kind and generous person who had simply found himself in the grips of addiction.  Some friends have reported that he was clean his last few years, but there’s no doubt he was not sober.  You could often find him drinking in one of Seattle’s many musicians’ hangouts-always ready to talk and (what the hell) accept a free drink.  However addiction is in no way a character flaw and it’s clear that many were touched by his legacy…friends who had known him for years, and strangers who had only sighted him from afar.  He was much more than a cast-off.

From the mid 80’s onward Slats was well known for his “uniform”.  Punk-rock (all black) regalia, including skinny jeans and ratted, longish black hair almost always topped by a wide-brimmed hat.  If he never became a huge rock star he was always dressed as if he would be soon…perhaps as a re-incarnation of Johnny Thunders. But the legacy of the Silly Killers goes beyond an iconic figure or a member of rock royalty. The Silly Killers began as one of a handful of seminal second generation hardcore bands that arose in Seattle during the early 1980’s.  It’s might even be misleading to call the Silly Killers “hardcore” since their music and performances did not follow the formula most early hardcore bands did.  The singing of vocalist Eddie Huget could be nuanced instead of a constant, disembodied supposedly traumatized suburban scream.  The songs were actually melodic at times…it might be more appropriate to call the Silly Killers a great little rock and roll band that found it’s place among punk rock.

The band was not above pissing off everyone, including their own fans.  Instead of using the term “pissing off” “taking the piss out of” may be more correct.  Often acting as provocateurs 0n several occasions the band used what seemed to be misogynistic images to promote their shows.  The images drew the wrath of those who didn’t see it as funny or as a stunt to heighten the Silly Killers image in the public eye.   Needless to say, they managed to anger Seattle’s feminist and lesbian communities often.

It’s been reported that in 1982 the Silly Killers were part of the very first punk-rock show in Tacoma, which is about 25 miles south of Seattle.  The bill included The Fartz and Wad Squad (led by the equally iconic Chuck “Upchuck” Gerra).  This claim could be argued, since punk was not new to Tacoma, but it’s also probable that this could have been the first, most visible show of important Seattle bands to do an all-ages show in Tacoma.  Nonetheless the Silly Killers had already made a name for themselves in Seattle,  although often found themselves as the opening act for more well-known local and regional bands.  Despite being largely a support band the Silly Killers had a devoted following and it grew each time they hit the stage.

It was during this era that the Silly Killers recorded their now infamous Knife Manual EP for Kurt Bloch’s No Threes Records.  Kurt was a founding member of The Fastbacks and another highly visible musician-even to this day- on the Seattle scene.  Although the output of No Threes was sporadic during the early 80s Kurt managed to release some of the most classic (and consequently desirable) singles of any local label.  His first four releases (Kill The BeeGees by The Accident,  Man as Hunter by The Cheaters, The Fastbacks debut single It’s Your Birthday and “You May Not Believe In Vains But You Cannot Deny Terror” by Vains-which also featured the near ubiquitous Duff McKagen. No Threes went on to release several Fastbacks records as well as other bands, including Pure Joy, and more recently The Yes Masters and Full Toilet as well as an excellent compilation of the early Fastbacks recordings. No Threes is still active and has also re-issued many of it’s original releases-except, mysteriously, the Silly Killers.

The fact that Silly Killers tracks have been included in several unauthorized bootlegs over the years deprived the original members even a modest amount of royalties.  One of the unauthorized compilations the Silly Killers can be found on is Killed By Death Volume 12 (1996, Redrum Records).  In fact the cover art for this volume is based on the very same image the Silly Killers used on their Knife Manual EP…but then again, they had stolen the image themselves. The photo used on the cover of Knife Manual is that of wrestler turned Ed Wood actor Tor Johnson.  Johnson is probably known best as the hulking figure in both Bride of the Monster (1955) and Plan Nine From Outer Space (1959) as well as a few other Ed Wood films.  But, amazingly, Johnson was also featured in film and television from the big screen musical adaptation of Carousel to television’s Shirley Temple Theater to the Monkees psychedelic outing Head.

There have also been a few legitimate releases of the Silly Killers songs.  Among them is a tip of the hat from later Seattle favorites Gas Huffer.  They contributed their version of Knife Manual in 1992 on a split single with Mudhoney doing a cover of The Angry Samoan’s “You Stupid Asshole”.

The Silly Killers, like most early practitioners of punk never expected to make any money in the first place. They played and recorded for the hell of it, and knowing they’d be entertaining their fans.  They probably never dreamed they would have the status and influence of later generations.  After all, a review in the region’s premier music magazine The Rocket gave it a poor review, and sales of the 7” EP were modest at best.  Today copies are highly prized on the collectors market, but practically impossible to find…one copy recently sold for $200.

The Silly Killers were exceptionally entertaining live. Slats thrashed on guitar while lead singer Eddie  often Huletz feigned indifference when he wasn’t singing.  Both Gary Clukey and  Tim Gowell (now Steven Gowell) played with abandon. The shows could end in chaos (to the glee of audiences) and their set was filled with confrontational lyrics as well as the song titles on their EP which included Sissie Faggots and Social Bitch.  More strident members of the public had no sense of irony and considered the Silly Killers to be misogynistic and homophobic.  Of course it was all provocation as part of their schtick.  It should be noted here that Duff McKagen was not with the band at the time of their recording Knife Manual, but he is credited with “backing vocals” on the song Social Bitch.  By the time the Silly Killers recorded the two songs originally released on What Syndrome (Nothing To Say and Big Machine) Duff had replaced Gowell as drummer.  The band would dissolve soon after that, leaving Eddie and Gary (as well as Tim/Steven) to follow other pursuits while Duff McKagen continued his path toward becoming a rock star-and Seattle hero. As for Slats, he would continue to be a well-known figure in and around the Seattle music scene as well as somewhat of a cultural icon in the city-for decades.  He drifted in and out of bands, or made attempts at forming bands that never materialized and eventually went on to found Pain Cocktail, his final band.  He became a sort of romantic figure of the archetypical rock junkie that became almost de rigueur in some circles…especially in Seattle during the late 80s and early 90s.  Whether being taken seriously as a musician or simply “just another junkie” he was both revered and reviled by students University District where he was considered an “Ave. Rat” who was admired by others.  Later he spent time on the ever-more gentrified Capitol Hill.  “The Hill” still remained an important locale of the music scene and despite being written off  by many who didn’t know him, Slats was always ready to talk to anyone who approached him. According to Ross Beamish a fellow member of Pain Cocktail

I asked Slats one day if he had seen any of the bullshit people posted online about him.  He just shook his head casually and continued with whatever he was doing. It really didn’t bother him.” 

That was typical Slats…living in a world he’d built for himself but ready to engage with anyone and everyone with a respectful deference and kind heart.  In other words Slats was a good guy, despite his failings…and what failings he had didn’t really affect too many others outside of his mother.

In the spring of 2010 Slats fell and had to have hip surgery.  His lifestyle had done quite a bit of damage to his general health and he died from complications of the surgery on March 13, 2010.  There was a more-than-usual outpouring of love from the community for a one-time punk rocker turned professional addict/alcoholic.  His loss was mourned not only by his friends and family, but by strangers who had only had an occassional glimpse of him.  He’s remembered as a kind eccentric, and probably will be referred to for upcoming historians of Seattle music in the future.  But his lasting legacy will also be based on being involved in one 7” chunk of polyvinyl chloride pressed into a Seattle watershed moment.

-Dennis R.White. Sources: wabbit34, (last fm.com) Chris Harvey (discussions with the author 1984-2005};  “Knife Manual EP 7″ (biography and comments, Killed By Death Records, 1982-present) ” “Legendary Ave Rat Chris Harvey, AKA Slats, dies” (10 Things ‘Zine, March 16, 2010);  Josef Alton. “In Memorium” (City Arts, April 27, 2010); Justin Vinson “Silly Killers EP”  (Sugarbuzz Magaizine.com, date unknown)  “Tor Johnson” (IMDb.com)  “Not That Time Again” Video Slideshow ©Mike Leach

WREX

WREX was established in Belltown, Seattle by Michael Clay, Wes Bradley, and Aaron McKiernan in the early Fall of 1979.  The venue, at 2018 First Avenue, was formerly a leather gay bar called Johnny’s Handlebar, located on the ground floor of a former brothel. Johnny’s Handlebar, at the time it closed was said to be the oldest, continuously open gay bar on the West Coast.  For the first few months of it’s life WREX remained a typical 70s/80s gay bar, catering to local gay men.  The unique décor inside WREX included old car seats in the back, old airplane seats in the side area, and Seattle’s first music video system curated by Ted Ladd.  A DJ spun the popular music found in thousands of gay discos around the nation (and in Seattle) which also included a handful of the poppier “new wave” hits that most gay bars also included among their playlists. As the novelty of the new gay bar wore off the gay clientele retreated to many of their previous haunts around town.  The Brass Door, Neighbors, The Park Avenue, and a plethora of other LGBT venues that  were popping up with regularity.  WREX was still viable as a business, but they needed something more to bring in customers.  One of the targets WREX had not yet tapped into was the growing popularity of punk in the LGBT community  Many who came of age during the punk era rejected the “clone” culture that pervaded the  gay scene at the time.  Not only that, alot of younger straight adults interested in punk barely regarded a difference between themselves and their queer friends. They all gravitated  toward punk as an alternative, so they were all one tribe. It’s not surprising that gays bars were regularly part of the punk scene of the late 70’s and early 80’s.  They were always ready to allow punk rock in their midst because it represented the same kind of outsidership, and it’s no wonder so many gay youth were willing to embrace more outré artists that had emerged from gay disco-artists like Sylvester and the iconic Grace Jones.

Seattle’s punk and gay communities have often mingled together, and the subcultural mise-en-scène at WREX was no exception to that general rule. Occasionally, former Johnny’s Handlebar clientele would drop in after WREX’s opening, not yet knowing about the change in management and regular crowd. Since both gays and punks were then equally shunned by mainstream Seattleites, there was no true clash between the two subcultures.

Armed with that knowledge two gay young men who were familiar with the cross-pollination between punk and gay culture approached Aaron McKiernan, the principle investor in WREX with a proposal.  One night a week WREX would host dances showcasing the latest independent, alternative and punk rock. The two DJs there were Charles “Upchuck” Gerra, then a prominent figure within Seattle’s punk scene, and Dennis R. White who would later become a graphic designer. promoter. manager and part of the staff of The Rocket.  Although Gerra spun a few records each night, his real strength was hosting, mingling with and entertaining the crowd and promoting the fact that WREX had now become a haven for young gay and lesbians searching for their own space.  And with them came their allies and friends in the punk community.  All-ages clubs and all-ages shows had come and gone in Seattle, but no single club had devoted itself to punk and alternative dance music.  There was a ready audience waiting, so, on a rainy night in December 1979 just after 8PM the needle dropped onto “Orphans” by Teenage Jesus and The Jerks.  A new chapter in Seattle music had begun.

At first the crowds were sparse, but they grew throughout 1980 and eventually the club was just as much a “gay” venue as a “punk” venue that welcomed anyone with a love for the alternative scene.  Some time during this period, Mike Vraney (of Time Travellers and Modern Productions) began to book live music at the club.  His sights were high and he intended to showcase the best of popular local alternative bands with rising stars on the indie scene both in the US and Europe.  The first live band to play WREX was The Fastbacks (with a young Duff McKagen on drums).  Their set was meant to work out any kinks in presenting live music, and in anticipation of the first official show at WREX.  The next night The Blackouts and The Beakers opened for Delta 5 from Leeds, England.  Delta 5’s politically infused feminist politics had made them stand-outs in the early post-punk years.

From then on bands played at WREX three nights a week, originally booked by Vraney.  During his very successful run of bookings Vraney brought national and international acts to the club, as well as booking the cream of the crop of Seattle alternative bands.  The job was eventually turned over to WREX manager/publicist Wes Bradley.  Bradley had extensive ties within the established music business, so it wasn’t hard for him to get his foot in the door of the labels promoting alternative acts that were finally seeing some success in the wider music business.   Bookings were also handed over to independent agents as well as bookings by members of WREX’s own staff.  At the same time Ted Ladd, a video artist and curator was in the process of making headway with both video wallpaper and showing music videos between DJ’s and live music sets.

The shows filled it’s tiny space for most of the time WREX existed. Along with almost every local band then playing original music (starting with the Enemy), touring acts who played at WREX included Grace Jones, Joan Jett, X, The Fleshtones, Romeo Void, Wall of Voodoo, Los Microwaves, Hüsker Dü and others who were then becoming staples of alternative and college radio.  The frequency of shows — and their apparent local popularity — inspired other bars around Seattle to start booking original-music bands, thus giving a crucial boost to Seattle’s punk scene at a crucial time in its development. Additionally, certain bars near WREX in Belltown — such as the Frontier Room and the Rendezvous — soon became local punk hangouts. One gay bar that had always been punk-friendly was Tugs, Belltown.  The proximity of Tugs and WREX exponentially help create what would be one of the city’s best strips to enjoy music on, First Avenue.  A little further south down road lay The Showbox, and during the heyday of it’s operation was a showcase for everyone from Captain Beefheart to John Cale to The Specials to James Brown.  Smaller all-ages venues like Danceland and one-off store front gigs and artists’ studios became common.

By the height of WREX’s popularity Upchuck had continued pursuing his career as a rock performer, Dennis White was spinning records  one night a week, and involved in The Rocket, his own musical side projects, churning out hundreds of rock posters and producing a few band’s recordings on his Pravda label.  But the bulk of the music was presented by DJ’s Michael Clay and Ross Bostwick.  Bostwick would become the one single DJ that was the powerhouse behind the dance music at WREX.  He also made  the transition to the most popular DJ when the space became The Vogue, a few years later. His excellent taste in what was new, progressive, alternative or downright spooky kept the audience intrigued.  Meanwhile Ted Ladd continued to curate punk and new wave videos-a job he continued after the club became The Vogue.

Along with the fertile subcultural ferment that thrived at WREX, there was also an inevitable element of sleaze. At the end of many nights there, spilled beer lingered an inch or two thick on the concrete floor, and young couples often had sex openly on the back staircase during shows. Such was the standard punk nightlife during that time, in Seattle and elsewhere. The nature of its clientele wasn’t WREX’s most important problem: it also had constant problems with cash flow. Dennis White once lamented,

WREX was always out of cash. Toward the end I was buying the keg off the truck in the afternoon out of my own pocket, hoping they’d sell enough that night to pay me back.

Money-or lack of it-is the most common downfall of great nightclubs, so WREX officially closed on March 18, 1982. One year later, the same venue would reopen as The Vogue (in honor of the original hotel’s name-something lost on many of WREX’s former clientele). While focusing on recorded dance music played by DJs, also The Vogue hosted live music acts on off nights — including Nirvana’s first Seattle gig before a full audience on April 24, 1988.  Perhaps it was Nirvana’s “first Seattle gig before a live audience” Most rock historians consider this show the band’s first Seattle gig, but Bruce Pavitt, founder of Sub Pop Reocrds insisted that a Nirvana showcase he attended on April 10, 1988, at the Central Saloon was the band’s very first in Seattle.  He claims “No one else remembers it because it was just me, the doorman and about three other people.”

Some people see The Vogue as one of the first venues to host bands that would one day be known as “grunge”…but like the transition from the 80s to 90s Seattle music scene, it’s hard to escape that WREX had been important to that which would emerge around The Vogue and other clubs like Gorilla Gardens, The OK Hotel and The Metropolis.  Anyone old enough or with a good fake ID who would go onto become part of the late 80s/early 90s movement had stepped inside the doors of WREX at least once. “We all stand on the shoulders of giants” as has been pointed out so many times.

 

–Jeff Stevens & Dennis R. White Sources: Clark Humphrey, “Loser: The Real Seattle Music Story” (Feral House, 1995; MiscMedia, 1999, 2016); Clark Humphrey, “Seattle’s Belltown” (Arcadia Publishing, 2007); Peter Blecha, “Sonic Boom: The History of Northwest Rock, from ‘Louie Louie’ to ‘Smells Like Teen Spirit’” (Backbeat Books, 2009); Stephen Tow, “The Strangest Tribe: How a Group of Seattle Rock Bands Invented Grunge” (Sasquatch Books, 2011),