Northwest Music History: Garage Rock

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),