By the mid-60’s Seattle’s once thriving R&B teen dance bands were on the wane. Members of outfits like the Dynamics, The Viceroys and the Frantics were eagerly tapping into the first stirrings of the underground psychedelic movement. Most of the bands making the transformation were not doing it for purely mercenary reasons. Many players had simply aged and evolved, while remaining true to their R&B and garage-like beginnings. Many of the psychedelic bands coming out of Seattle still held onto an insular, regional sound that favored hippie-ballads and gentle horns, reeds and the organ that had become a staple of Northwest rock since Dave Lewis. They favored a more tie-dyed approach rather than the aggressive guitars and overtly political or socially conscious lyrics of bands like The Jefferson Airplane, The Doors or Quicksilver Messenger Service.
They also lacked the lush production of bands coming out of New York City. If there is a word that describes the Northwest psychedelic sound it could very well be “comfortable”…not in the passive sense, but in the sense that gentler, more flower-powered sounds were being made. Perhaps the exception to this rule was The Frantics who’s remaining members moved to San Francisco, renamed themselves the hippiesque Luminous Marsh Gas, eventually to become one of the mightiest bands of the psychedelic era-Moby Grape.
Crome Syrcus was no different than many other NW bands. The had arisen from the ashes of a teen R&B, jazz influenced outfit called The Mystics. The Mystics had an enthusiastic fan base and were able to tour regionally, but ultimately had a relatively short career. By 1962 drummer Jim Plano had joined the military. Dick Powell, the band’s vocalist and guitarist John Gaborit remained stateside, and eventually brought on bassist Lee Graham and keyboard player Ted Shreffler. Jim Plano’s position as drummer was filled by Rod Pilloud. Once assembled, the new band christened themselves Crome Syrcus.
Soon the band was finding regular gigs on the nascent psychedelic circuit in Seattle. Their distinctive sound often relied on two keyboards played by both Powell and Shreffler. John Chambless, the coordinator of the Berkeley Folk Festival had seen Crome Syrcus at The Eagles Auditorium (it’s unclear who the headliner was that night). He quickly booked them to his Folk Festival and on July 2nd 1968 Crome Syrcus played their first Bay Area gig. In fact Crome Syrcus would … Read more›
By the time the mid-60s had come around The Northwest Sound has pretty much wound down. Many former teen-dance bands were moving closer to rock and the new psychedelic sounds coming out of L.A. and San Francisco. In some ways many local artists had begun to see Seattle as a northern outpost of San Francisco.
One of the bands that emerged in the mid-60s was Blues Interchange. David Lanz (future star of “new age” music) had been one of the band’s first members. The band began making the rounds of Seattle venues and became very popular with the tripped-out psychedelic crowd. Due to some of the members being drafted local boy Jeff Simmons signed on as bassist in 1967. Simmons was already an accomplished player with a gregarious, often comedic air about him Other members included Al Malosky on drums and guitarists Peter Larson (later replaced by Burke Wallace), and Danny Hoefer. Danny Hoefer would later go on to play in Tower of Power.
After the change of personnel, Blues Interchange found even more favor with Northwest audiences. One result of the changes was re-naming the band to Easy Chair. The transformation caught the eye of Seattle’s emerging rock scene as well as other pockets of psychedelic blues around the country
In 2014 the website Clear Spot would look back on Easy Chair, writing;
“Their epic West Coast blues features the unique chemistry of psychedelic guitar leads, fluid lines and hypnotic chording”.
Around this time the band was emerging they met up with notorious San Francisco manager Matthew Katz. Katz had been the first manager of Jefferson Airplane and had ben fired even before the release of their first album, Jefferson Airplane Takes Off. Seattle native Signe Anderson (September 15, 1941-January 28, 2016) did vocals, but soon left the band, handing over the task to Grace Slick. The firing of Katz would result in ongoing litigation over the release of original or licensed material by Jefferson Airplane. The litigation between Katz and Jefferson Airplane was not settled until 1987.
Katz was also involved in a dispute with Moby Grape beginning in 1968. Katz had sold the group members’ rights to their songs as well as their own name were signed away in 1973 to manager/producer David Rubinson without the band members knowing it. He retained rights to the name Moby Grape and a large part … Read more›
Ballin’ Jack was formed in Seattle by former childhood friends Luther Rabb and Ronnie Hammon. Both of them had gone to school with and been friends with Jimi Hendrix at the city’s Garfield High School. In the early 60s Luther Rabb played around the NW with several moderately successful outfits on the teen and R&B circuits. He had even played saxophonist alongside Jimi Hendrix’s in The Velvetones, the first band Hendrix had been involved in. Ronnie Hammon was a drummer who’d also backed a few Seattle bands-none of them particularly notable. In 1967 Rabb and Hammon decided to form their own band. Rabb, a multi-accomplished musician would leave the saxophone behind and switch to bass guitar. Hammon continued drumming, thus forming a strong rhythm section. Almost immeadiately they added Jim Coile on flute and Tim McFarland on trombone. A bit later Jim Walters would come onboard as their saxophonist and Glen Thomas providing the lead guitar. The name Ballin’ Jack has obscure origins. It could be based on “Ballin’ the Jack” a 1913 song written by Jim Burris and Chris Smith. It could refer to the and the ensuing dance that became popularized by the song. The expression “Ballin’ the Jack” also has ties to railroad workers who used the expression “to go full speed”. But the band’s use of the shortened expression probably was chosen for one of two other reasons. Sometimes the term “ballin’ the jack” implied having a great time. There’s certainly enough examples of the expression being used in film, on Broadway and popular music….but sometime the meaning was (literally) deep, full-on sex. Blues great Big Bill Broonzy sang in “Feel So Good”
My baby’s coming home
I hope that she won’t fail because I feel so good, I feel so good.
You know I feel so good, feel like balling the jack
As Bessie Smith sang in “Baby Doll” in 1926,
He can be ugly, he can be black
So long as he can eagle rock and ball the jack
There’s several ways to interpret the term, but “ballin the jack” was an expression often used in jazz and blues circles to mean deep, full and fast sex. It may be this veiled, slang reference is the meaning the band intended their name to represent.
Ballin’ Jack found themselves moving to Los Angeles, living in a large … Read more›
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 … Read more›