Northwest Music History: NW Categories

DON RICH

Who would have thought that a kid from Olympia WA would become one of the architects of country music’s Bakersfield Sound? Don Eugene Ulrich was born in Washington’s state Capitol on August 15th, 1941, and grew up in the adjacent town, Tumwater WA. He was the adopted son of Bill and Anne Ulrich and went by that name as a youth but would later shorten his last name to Rich. Don’s parents encouraged him to play music, going so far as to give him a home-made violin at the tender age of three. Don was a musical child prodigy. He learned the fiddle in short order and soon after picked up a guitar, also becoming proficient at the instrument in a short time. Don’s parents were confident enough of his skill to enter him in a series of local talent and variety shows.

By the age of 16, Rich had opened for a matinee performance by Elvis Presley on September 1st, 1957, at Tacoma’s Lincoln BowlLincoln Bowl was an amphitheater adjacent to Lincoln High School overlooking Puget Sound. Since Presley’s performance took place next to Lincoln High School, the show saw the amphitheater full of screaming teens.

During his last year of High School, Don Rich had started playing his fiddle around the south Puget Sound region and forming a rock and roll band called the Blue Comets with drummer Greg Hawkins and pianist Steve Anderson. But Don’s love was closer to country and folk than rock and roll, so he continued playing gigs as a fiddler. One of those gigs was at Tacoma’s Steve’s Gay ’90s, where he would catch his first break-one that would change his life forever. Former Bakersfield CA musician Buck Owens was doing a stint at Tacoma radio station KAYE at the time. Rich was playing at Steve’s Gay ’90s when Buck Owens walked in one night in 1958. Owens, a fiddler in his own right, had already seen Rich onstage and was taken by Rich’s talent almost immediately. After their first meeting, they soon became great friends and collaborators. Don would join Owen’s band that played around Tacoma and Seattle. Owens was also a radio and television presenter, so when Rich joined-up with Owens, he found himself doing a weekly spot on KTNT-TV 11’s BAR-K Jamboree. The show had the distinction of introducing Loretta Lynn to television with her first appearance in a talent-contest Owens held on the Bar-K Jamboree in 1960. Buck had become a local personality in and around Tacoma, but earlier, he’d worked as a session player in Hollywood. Buck played lead guitar on what is sometimes regarded as the first “Bakersfield Sound” recording, Louisiana Swing by Bud Hobbs. MGM Records released the song, and although it wasn’t a huge hit, it set the groundwork for a sound that Buck Owens, along with Merle Haggard, would primarily be responsible for beginning in the late 50s and throughout the 1960s. The “Bakersfield Sound” had slowly developed since the days of Bob Willis, but it had never caught on aside from Willis’s novel idea of conflating Swing with Country and Western.

In 1959 Buck got a significant response to his first “hit” “Second Fiddle”, which hit No. 24 on the Billboard country chart. It was soon followed by “Under Your Spell Again” that peaked at number 4 in the Billboard country charts. It wasn’t long before Owens was packed-up and ready to return to Bakersfield and it’s proximity to Columbia Records, who had signed him and would release most of the Buck Owens and The Buckaroos recordings. Buck urged Don Rich to follow him as part of his band, but Rich chose to remain in Washington and study to become a music teacher and tutor in Centralia WA, where he continued to play fiddle at local bars.

After a year, Don had a change of heart and left for Bakersfield to play fiddle in Owen’s band. Buck Owens had an even bigger hit with “Above and Beyond,” which peaked at No. 3 in 1960. The song was the first track Rich had played fiddle on. From then on, Don and Buck became practically equal collaborators, driving near and far to play gigs up and down the west coast with pick-up musicians- or as a duo- and building a reputation for the basic, honky-tonk inspired and stripped-down sound of their live performances.

The Bakersville Sound was not entirely developed until 1963 when Owens and his band released the single “Act Naturally”, a song that’s been covered by everyone from the Beatles to Mrs. Miller. to Loretta Lynn and Dwight Yoakam. Ringo Starr, who had sung the Beatles version of the song released in August, 1965 joined Buck Owens for a duet of the song in 1989. “Act Naturally” was the first recording on which Don played lead guitar. By the time Owens recorded the song, he and Rich were backed by The Buckaroos, which included Kenny Pierce on bass, Jay McDonald on steel guitar, and Willie Cantu on drums. The band was filled-out during recordings with various session members. The name The Buckaroos is thought to have been created by Merle Haggard. At the time, Haggard was also building his estimable career out of Bakersfield.

So what, exactly, is the “Bakersfield Sound“? A lot of it is based on the idea of being an outsider. This may come from the fact that a good portion of those living in and around 

Bakersfield were transplants from Oklahoma, Kansas, and Northern Texas…the so-called Okies trying to escape the dustbowl of the 1930s. Many had found work in California’s San Joaquin Valley, and especially around its southern portion, where Bakersfield was a center of agriculture, cattle, and oil drilling. All were occupations Okies would already be familiar with.

The Okies had brought their traditional music and the instruments they played; fiddle, guitar, any percussion that was available whether it be banging on a tin pot or stomping on the floor. They had a prominent and deep respect for “Hillbilly Music” and what we’ve come to know as Americana. A few early practitioners of this stripped-down sound (Wynn Stewart and The Maddox Brothers and Sister Rose, for instance) were playing what would become the “Bakersfield Sound” in and around the city during the mid-50s. Not many practitioners of the pre-Bakersfield Sound found wide commercial success. At first, this was a regional sound, but within a decade, it would become a huge influence on Country Music outside it’s traditional home, Nashville TN.

The Bakersfield Sound was a direct response to what was happening in Nashville. Country artists and songs there were being produced with lavish string arrangements and prominent, soothing background choruses. The piano was included but always as an accompaniment and NEVER in the honkey-tonk style. The Hawaiian or Steel guitar was barely featured-if they were used in the first place.

 

 

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The music of Nashville had become closer to the pop music of the day than what we think of as Country and Western.  Even Patsy Cline, who is almost universally considered the greatest country vocalist of all time was subjected to this kind of over-produced approach.  Take a listen to “Crazy”, “Sweet Dreams” or “She’s Got You”.  All are classics and can’t detract from Cline’s genius.  But if we listen without the pre-conceived notion these are meant to be Country songs the only conclusion we can come to is that they represent the sound of the pop music of the 50’s.  The songs wouldn’t be as wonderful, but it’s not too far a stretch to  envision the production more fitting Gayle Storm or Patti Page.  The Bakersfield Sound stripped away the adornment, the huge productions, the orchestration and brought in the electric guitar, pushed percussion forward and added a backbeat. What they had in effect done is created a hybrid of rock and roll.

Don Rich had found himself in the midst of this progression while playing fiddle with Buck Owens in the Northwest, but fairly soon took the guitar up in Buck’s band once he landed in Bakerfield.  It was his smooth, restrained and precise playing on his Telecaster that contributed to the overall sound of The Buckaroos, and in turn with the way Country and Western Music would move toward in the 60s.

In 1963, Buckaroos bassist Kenny Pierce quit the band during a tour. Rich called in an acquaintance named Doyle Holly to replace him About a year later steel player Jay McDonald quit and was replaced by Tom Brumley.  This is the classic line-up thought of as The Buckaroos.  Following  incarnations of the band would include many talented musicians but it was Buck’s voice, Don’s guitar that was always at the center of the band.

https://youtu.be/l22bwUnSGZ8

What followed was an incredible string of hits in the 60s and 70s that made Buck Owens and The Buckaroos not only country music favorites, but true crossover hitmen. The ‘60s saw hits like “Together Again”, “I’ve Got A Tiger by The Tail”,“My Heart (Skips A Beat)”, “Waitin’ In Your Welfare Line” and “Before You Go” which spent an incredible 17 weeks at the top of the country charts.  Hit after hit seemed to flow from the band one after the other.  The band was so popular that they managed to put out eight full albums in the short time between 1967 and 1971.  They also played at The White House and Carnegie Hall. The Carnegie Hall recording  is considered one of the best-if not the best live country album of all time.

It was the harmonies of Don and Buck, and the expert playing of Rich himself that was the cornerstone of their popularity. Don stepped out occasionally to sing, and later he went on to record two solo albums with The Buckaroos as side-projects.  Don’s guitar work was becoming an inspiration not only to fans of The Bakersfield Sound, but also influenced the nascent country-rock movement that began mostly out of Los Angeles in the late 1960s.  It’s early adherents were Gram Parsons, Emmylou Harris, and The Flying Burrito Brothers and later practioners like Linda Ronstadt and The Eagles picked up on the sound.In fact in 1968 Buck’s band was enough of an underground music influence to play a sold-out concert at San Francisco’s Fillmore West.  Today’s most prominent player of the sound is probably Dwight Yoakam.

In 1968 Buck Owens signed on as a co-host of an amiable, corn-ball summer replacement for the popular Smothers Brothers Comedy Hour.  Don Rich was made musical director of the show Hee Haw, and although the show was only planned for the summer it became such a hit that the show was continued on CBS for two more seasons and afterward went into first run syndication for another 20 years.  During it’s run Don Rich appeared as a member of The Buckaroos as well as a lead performer with The Buckaroos backing him.  This gave viewers a front-row seat in watching and listening  to Don’s guitar picking. The Buckaroos, featuring Don’s outstanding playing continued to be a top crowd draw as well as the reigning stars of country music.

In 1969 The Buckaroos released “Who’s Gonna Mow Your Grass.” Don had complimented his usual picking style with a more dense fuzz-tone. Traditional country music fans were shocked, and some even became angry at Buck for “defacing country music” with such a blatant rock and roll techniques.   Don, Buck and the band didn’t pay much attention..they didn’t have to because “Who’s Gonna Mow Your Grass?” became another big hit.  It reached number one on the country charts for two weeks.

The early 1970s would continue to see hits for The Buckaroos even though eventually the only original members remaining were Buck and Don.  As the power of the Bakersfield Sound was popularized and then diluted Don and Buck had their last number one hit in 1972 with the song “Made In Japan”.  The two continued their personal and professional relationship.  They wrote and recorded music just as they had in the early days, and in their salad days.

On July 17, 1974 Don Rich finished a few recording chores at he and Buck’s Bakersfield studio.  He then set off, by motorcycle to meet his family up the coast in Morro Bay where they had been vacationing.  Somewhere between his night ride from Bakersfield to Morro Bay Don’s motorcycle crashed into a lane divider and he was thrown from his bike.  Don Rich suffered extensive damage and was transported to a local hospital where he was pronounced Dead On Arrival.  He was only 32 years old. The cause of his accident is still a bit of a mystery, since there were no witnesses, but police at the time noted there were no skid marks before the crash, so it was likely Don accidently drove directly into the divider at a high rate of speed.

Buck Owens was devastated by the loss of his friend, his collaborator and one of the most renowned guitarists in country music history.  Buck later said:

“He was like a brother, a son, and a best friend. Something I never said before, maybe I couldn’t, but I think my music life ended when he died. I carried on and existed, but the real joy and love, the real lightening and thunder is gone forever.”

Don Rich’s life may have ended that day, but his musicianship and reputation as an all-around gentleman lives on.  Country musicians still try to copy his lean but precise and complicated guitar licks.  He’s become a near-legendary figure among the old and newly introduced country music fans and musicians. His reach has grasped all the way into the 21st century. In a way Don Rich has achieved what he wanted to before his studies in Centralia. He is still considered the gold standard of the Bakerfield Sound guitar. History has made Don Rich the music teacher and tutor he had once set out to be.

-Dennis R. White.  Sources; Don Duncan (The Tacoma News Tribune – September 2, 1957); Scott Bomar & Randy Poe, Bakersfield Sound Judgement: Pair Pick top 50 songs (Bakersfield.com, December 31, 2015); Buck Owens Brunch: The Tragic Story of Don Rich (thebigfootdiaries.blogspot.com, 2/09/2014); Rich Kienzle-“Buck Owens and The Buckaroos-A Bunch of Twangy Guitars” (Vintage Guitar Magazine, May 2007)

 

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)

CROME SYRCUS

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 eventually base themselves in San Francisco, but they were to spend just as much time in New York City for the next couple of years.

Soon after their stint at the Berkeley Folk Festival they came in contact with Robert Joffrey, founder, director and primary choreographer of the Joffrey Ballet based in New York City.  Joffrey himself was a native Seattleite and was taken aback by the band’s musicianship and professionalism.  Before long, Joffrey had commissioned the band to adapt music for Teo Macero’s  ballet “Opus 65″ to be perfomed with the dance.  The ballet was presented at Seattle’s Eagle’s Auditorium, but Joffrey had bigger things for the band. He lured them around the country, and eventually to New York City to work on several projects with his ballet company.

According to troupe member Trinette Singleton:

“We would do residencies at the Pacific Lutheran University in Tacoma, Washington in the summers and that’s where a lot of times new works were created and so that was where we really got into working on this piece. One day, he (Joffrey) brought in a musician, Hub Miller, that he knew from Seattle. He probably had been meeting and talking to Hub weeks and weeks before Max and I ever knew it, about writing a commissioned score for this particular piece. Hub wanted Mr. Joffrey to listen to a couple of rock bands that were sort of making a scene in Seattle at that time. So we go to this night club place and there’s a band playing, it’s the Crome Syrcus and suddenly they’re going to be doing the commissioned score for it, and Hub’s going to head it up. So, okay, there’s going to be a rock band in the pit. That was part two of the equation I guess you could say.”

Joffrey had a vision of creating a ballet that took advantage of multi-media, unusual scenarios, and the daring of many of the be-ins that had been popping up around the country.  Joffrey’s ballet was to be somewhat akin to the acid tests of the mid 60s, but the experience was meant to be a multi-media drenched journey rather, and presumably without the acid, though who’s to say how many audience members took part in the event stoned?

Joffrey insisted his ballet be scored by rock musicians, but instead of the focus on band as entertainment he wanted to create a stilted, avant garde version of what ballet, modern music the new technological imagery could be.  The title of Joffrey’s proposed ballet was “Astarte”, named after a late-bronze age goddess that represented birth, renewal and war.  The name Astarte itself was the greek name of a goddess found throughout many cultures in the ancient world-from Mesopotamia, and The Middle East. The goddess was also worshipped by the Caananites, Egyptians and  the Phonecians.  In fact the goddess is found in the Jewish Bible as an icon to be avoided. According to the Jewish Women’s Archive, Astartes’ worship is repeatedly condemned in the Hebrew Bible. In the book of  Judges, the Israelites are punished for straying after the god Baal and “the Astartes” (Judg 2:13–14; 10:6–7); the people are similarly castigated for Astarte in 1 Samuel (7:3–4; 12:10); Jeremiah castigates the people for making offerings to the queen of heaven, a goddess who most probably represents a syncretism of Canaanite Astarte… Nevertheless, the very fact of these multiple condemnations is evidence that, for at least some ancient Israelites, the cult of Astarte held great appeal”.

This complicated exploration of disobedience, the vicissitudes of the world, sexuality and revolt that was at the core of Robert Joffrey’s ballet.  If the ancients had persisted in worshipping a god that represented sex and and revolt, why shouldn’t contemporaries?  Especially in the free-wheeling 1960s.

Months were spent writing the score, (mainly the work of Crome Syrcus’s Lee Graham and Ted Schreffler) while Joffrey and his dancers filmed many of their parts to be projected simultaneously with their live performance.  The filming by Gardner Compton also included seemingly everyday  (but fascinating) images, to East Village go-go dancers.  Etheral scenery and various multi-exposure effects were also shot in order to be directed at the stage from several projectors in the balconies.  Lights glimmered and flashed giving off an almost disco-like affects.  Principal dancer Maximiliano Zomosa emerged anonymously from the audience, walked onstage and removed his clothing excepting briefs.  Not everyone in the audience understood this was part of the ballet, and on occasion tried to prevent him from disrobing.

The bulk of the dance consisted of Zomosa’s character being the sexual object of the goddess Astarte.  All the while the psychedelic music and imagery filled the theater.  It concluded by Zomosa  finally walking out onto 56th street (near-naked) through the theaters actual huge backstage doors.   The idea may seem almost cliché today, given the revamping of this kind of conceptualism throughout the media over the years…but there’s no doubt that this ballet was an original stab at a new type of mixed-media.  It was truly revolutionary.




During the ballet, Crome Syrcus played their instruments live, as an orchestra would have done from the pit. The band and their music was just as central to the ballet as any of the dancers or effects. Although there are only a few known snippets of the work caught on film or audio we know from reviews that the ballet Astarte was well-received and lauded as a completely new direction in music and dance. Its world premiere on September 20, 1967 at New York’s City Center Theater also cemented Joffrey’s troupe as one of the preeminent ballet companies in the United States. The excitement of the collaboration between Joffry and Crome Syrcus, while using interactive media was so successful that the ballet made the cover of Time Magazine on March 15th 1968.

For the months it was performed it seemed nothing less than visionary…but of course all visions rely on a good deal of work. Much later, in 2012 dancer Dermot Burke told the Washington Post’s Sarah Kauffman

“Those of us who were in it were just tired, sore and hungry. We didn’t realize we were living through a revolution in American dance.”

Unfortunately we have no publicly documented comments by members of Crome Syrcus concerning their part in Joffrey’s masterpiece, but it’s clear they gained a high national profile from it, and 1968-1969 would prove to be the band at it’s zenith.  Aside from touring and spending time between San Francisco, Seattle and New York the band released a series of singles in 1968. “Lord in Black” b/w “Long Hard Road” (Piccadilly Records-an offshoot of Jerden Records), “Take It Like a Man” b/w “Cover Up” (Command Records), “Take It Like a Man” b/w the alternative “Crystals” (Command Records) and in 1969 a re-release of “Lord in Black b/w Long Hard Road”  on the Jerden label.

In 1968 Crome Syrcus recorded their only LP, Love Cycle.  The title song was a 17:11 minute pastiche of psychedelic, folk, pastoral and symphonic sounds.  The concept of varied styles was not foreign to Crome Syrcus since-unlike many bands, then and now-all members had seriously studied music…some at the University of Washington.  The rest of the album (side two) contains five examples of Northwest meets San Francisco psychedelic hippie-pop.  The arrangements are fairly delicate and lower key than the best of the Bay Area bands of the day, but still effective and definitely part of a sub-genre that was wildly popular at the time.

For the recording and release of Love Cycle the band had been signed to Command Records by Peter Kamin, son of long-time Seattle Symphony director/conductor, Milt Kamin.  Originally Command (or Command Performance as it was originally named) had been an audiophile imprint that released the very best in classical and jazz recordings, as well as a few pop artists thrown in.  Cover art was designed by top of the line artists and records were presented in gatefold sleeves which were uncommon in the 1950s and early 60s.

The label was formed and run by the famous violinist/bandleader- turned audio engineer Enoch Light. Command musicians were recorded magnetically onto 35mm film rather than tape.  The entire width of the 35mm film was coated with iron oxide, leaving the width of the entire tape available for multi-track recordings far beyond the 3-4 track tapes that were commonly used into the late 1960s.  This technique also allowed for very wide, dynamic instrumentation to remain on single tracks rather than the “stacking” of tracks that was relied on up until the time of digital recording. In 1959 Command was acquired by ABC-Paramount although Light remained at the helm.

In 1966 Enoch Light left Command Records to establish Project 3, and standards of recording and presentation at Command started to deteriorate almost immediately.  At the same time Command began to rely on repackaging and re-releasing former titles in the label’s catalog.  The initial idea of recording Love Cycle as envisioned by the band and Peter Kamin was to return to the quality that the label demanded before Enoch Light’s leaving.  Whether the release of Crome Syrcus’s Love Cycle met that criteria is up to discussion. The standards may have been higher, and the recordings were bright and clear but most fans of psychedelic and pop music did not rely on the nuances of jazz or percussion aficionados. They were more interested in songs, lyrics and volume.  By all accounts Love Cycle more than met these standards.




Although the album became somewhat of a must-have for psychedelic pop fans,  Love Cycle  became unavailable for many years.  Although bootlegs existed even they were hard to find prizes for collectors.  Since about 1990 the album has seen several authorized pressings and digitalizations.  A revisionist glance back at the psychedelic era had caused a more sympathetic audience and many young musicians were interested in updating  the genre. Later pressings and CDs of Love Cycle are  relatively easy to come by these days.  Anyone interested in psychedelia, and especially Northwest psychedelia should have a listen.  Even though Crome Syrcus found it’s greatest success in New York and San Francisco, it still retains an essential basis in Seattle music history.

Crome Syrcus spent 1969 through 1973 as both a headliner and as an opening act for greats like The Doors, Moby Grape, The Grateful Dead, Jefferson Airplane, and shared bills with dozens of other 60s stars, but their recorded output had come to a standstill.  Even so they still were a big draw, and were featured on the bill of Boyd Grafmyre’s remarkable Seattle Pop Festival held at Gold Creek Park in Woodinville WA during July of 1969.  Other top-drawer performers included The Doors, Chicago Transit Authority, The Flying Burrito Brothers, Ike and Tina Turner, Charles Lloyd, Led Zeppelin, Santana, Ten Years After, Spirit, The Byrds and many other big names, as well as a very early version of Alice Cooper.

Crome Syrcus were also part of the line-up for the Second Sky River Rock Festival held in Tenino WA, just south of the Washington State capitol, Olympia.   Artists taking part in the festival, which took place August 30 and September 1, 1969, included James Cotton, Buddy Guy, Steve Miller, The Youngbloods, Dan Hicks and His Hot Licks, Guitar Shorty, Country Joe and The Fish, Pacific Gas and Electric and Sons of Champlin among others.

Crome Syrcus continued until 1973.  The genre they had worked in fell out of favor, and without any recorded output continuing  would be somewhat futile.  Each went their separate ways-all remaining as musicians at least during the imeadiate aftermath of the band’s demise.  They had proven to be one of the Northwest’s leading psychedelic lights, toured with some of the most famous bands of the day and had taken part in one of the most important and innovative breakthroughs in the history of dance.  They also left one of the best (underrated) albums of the psychedelic pop era.

 

-Dennis R. White. Sources, Walt Crowley “Rites of Passage: A Memoir of the 60’s in Seattle (University of Washington Press, 1995); Vernon Joynson “The Acid Trip – A Complete Guide to Psychedelic Music”(Babylon Books, 1984) Alan J. Stein “Sky River Rock Festival, the second, held on August 30, 1969” (HistoryLink.org, Essay 1271 06/06/1999); Unknown Author “Enoch Light” (SpaceAgePop.com); Author Unknown “The Crome Syrcus (ProgArchives.com); James Bush “The Encyclopedia of Northwest Music” (Sasquatch Books, 1999);  Susan Ackerman “Astarte:Bible” (Jewish Women’s Archive, date unknown); Sarah Kaufman ”Joffrey Ballet documentary honors the revolution that was choreographed” (Washington Post, January 26, 2012);  Shari Candler,“The making of Joffrey’s ‘Astarte’ (American Masters, PBS, first aired December 28, 2012); Sasha Anawalt “The Joffrey Ballet: Robert Joffrey and the Making of An American Dance Company. (Simon & Schuster, 1996); Photo: Tom Matthieson.

 

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,

 

 

JEFF SIMMONS
From The Blues to Easy Chair to Zappa and Back

By the time the mid-60s 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 of their songs. Katz continued to send out various personnel under the name “Moby Grape” until 2005, the original members won back the rights to their name and started performing again as “Moby Grape” Even as late as 2007  Moby Grape (who’d won back the rights to their name) Katz  threatened to file a lawsuit against Sundazed Records (licensed by SONY) claiming ownership of the album artwork and songwriting for the first three albums.  The label was forced to withdraw the albums Moby Grape, Wow and Grape Jam.  The albums have since been re-released.

Hooking up with Katz could have resulted in disaster but he remained a savvy (though untrustworthy) entrepreneur.  In 1967 he opened the club “The San Francisco Sound” on Seattle’s Capitol Hill.  The club was  popular, but it lasted for less than a year.  Katz’s real interest was to establish a venue for bands he managed..  The meeting between Blues Interchange and Katz gave the band more high-profile gigs opening for San Francisco bands he’d booked in his club including  It’s A Beautiful Day,  Tripsacord Music Box, West Coast Natural Gas and Black Swan. Katz also convinced Blues Interchange to change their name to  Indian’ Puddin’ and Pipe. In yet another case of Katz’s dissembling, another band called Indian Puddin’ and Pipe already existed. Katz owned the names of several bands and could bestow them on any line-up he desired.  Simmons’s Indian Puddin’ and Pipe dropped the name after severing ties with Katz in 1968.  Fortunately neither the band nor it’s members walked away beholden to Katz except for the  name he’d given them-not a very good one in the first place.  Obtaining a new manager was painless.  Glen Harmon was chosen to take on Katz’s job and endlessly worked to book and promote Easy Chair. Hammon had been a big fan who worked at Boeing, but from the start of his association with Easy Chair he proved to be a natural for the jobs of promotion and management.

Meanwhile Harmon and the band sought to get a record deal  Eventually they were forced to finance their own recording at Vancouver WA’s Ripcord Studio.  The songs recorded there were  produced by Rick Keefer-who would go on to found Sea-West Studio in Seattle.  The result of their sessions was a single-sided 12′ EP that included only three songs, Slender Woman, My Own Life and Easy Chair.  Both Slender Woman and Easy Chair were written by Jeff Simmons.  My Own Life was written by Peter Larson.  With a release of only 1000 copies, it did well in the Northwest.    The songs show a slight reliance on the San Francisco Sound, but also retains a bit of the jazz-inspired R&B that successful NW bands of the 50s and early 60s had always imbued into their music.  The recordings are sparse, but have an honest, almost innocent quality.  The band would later go on to be much heavier, but their initial (and only) release is probably the most sought-after, and most valuable record by any Seattle band in the collectors market. In the past few years the EP has been re-released on CD by several foreign and domestic labels.

With some powerful gigs behind them and a popular regional hit, Easy Chair were on their way.  An opening slot for Cream at Seattle’s Eagles Auditorium may have been their high point.  They also opened for The Chambers Brothers who were then at the height of their success.  These concerts, along with opening for Blue Cheer the early Led Zeppelin enhanced their reputation.   They were offered a contract with Tetragrammaton Records but turned it down.  The label which was co-owned by Bill Cosby, a fact Easy Chair did not know at the time they were approached by the label  Soon  Tetragrammaton released a worldwide hit with Deep Purple ( “Hush”)    In 1968 the label also licensed the release of  John Lennon’s and Yoko Ono’sUnfinished Music No. 1: Two Virgins” in the United States. The album’s cover featured nude photos of John and Yoko on the front and back jacket cover. The Beatles and Lennon’s US label, Capitol Records, refused to release or distribute it, citing negative responses from retailers, and American audiences objection to nuditiy, so Tetragrammaton stepped in to distribute the album in the US.

Easy Chair under the name Ethiopia was slated to open for Frank Zappa and The Mothers of Invention at the Seattle Center Arena on August 24, 1968. During sound check, Frank Zappa and his business partner Herb Cohen listened to the band and were impressed enough to fly them to Los Angeles for an audition and possible contract with one of two new labels Zappa had created (Straight and Bizarre Records). The Zappa gig took place a week before the band (billed as Easy Chair) performed at the first Sky River Rock Festival.  Easy Chair/Ethiopia played their booked obligations in the Northwest and were then on the way to L.A.  Soon Ethiopia was signed to Bizarre Records and the band waited to record….and waited.  Although they were signed as Ethiopia, the band once again reverted to Easy Chair for a handful of gigs with Zappa.

Their finest moment during their stay in Los Angeles was taking part in  Bizarre Record’s legendary “Gala Pre-Xmas Bash” at Santa Monica’s Shrine Exhibition Hall on December 6th & 7th 1968.   Easy Chair played the shows alongside The Mothers of Invention, Wild Man FischerAlice Cooper, and the GTOs. Ostensibly a pre-Christmas gig, it was actually Zappa’s debut of the roster of Bizarre acts that he, for the most part, had personally signed. This gig was definitely one of the most important shows of it’s day and possibly one of the most important gigs The Mothers of  Invention ever played.





After months of living in hotels, recording negotiations and long periods of inactivity Easy Chair members became discouraged.  It was clear the studio sessions were never going to happen. They decided to return to Seattle.  Jeff Simmons and drummer Al Malosky stayed in LA.  In 1969 Jeff Simmons (as a solo artist) was signed to Frank Zappa’s Straight Records to record two solo albums.  Malosky went along for the ride as a sideman on the first album.   Jeff’s assignment was to create the soundtrack for Naked Angels a biker/sexploitation film .  Although it’s not meant to be high art, the film itself is fairly decent within it’s genre.  Jeff”s soundtrack stands out as well executed psychedelia and is really the highlight of the film.  The film featured Penelope Spheeris (who would later direct both Decline of Western Civilization documentaries) and Corey Fischer (one of Robert Altman’s stable of actors, and who appeared in both the film and the TV series M.A.S.H.  The film got very little attention outside it’s intended audience but Simmon’s soundtrack album has long been a favorite among his fans.

Later in 1969 Jeff released what is universally considered his best solo work.  The album Lucille Has Messed My Mind Up leans more toward the accessible music Frank Zappa had released.  In fact Zappa contributed heavily to the album as a guitarist, wrote the title track and co-produced with engineer Chris Huston.  Zappa wrote the title track and also co-wrote “Wonderful Wino” with Simmons.  Zappa credited his work on the album under the pseudonym Lamarr Bruister.  Later Zappa would work Lucille into an entirely different version for Joe’s Garage and “Wonderful Wino” later shows up on Zappa’s  Zoot Allures.  Zappa rarely co-wrote his music, so it’s apparent that he had high regard for Simmons during this period.

 On “Lucille Has Messed My Mind Up” a variety of players who are often heard in Mothers and Zappa’s bands show up. Simmons is featured on lead vocals, keyboards, bass guitar, and accordion. Craig Tarwater-former member of the legendary L.A. garage band Sons Of Adam plays guitar, Ron Woods (of Pacific Gas and Electric) on drums, Ian Underwood on Sax and fellow Seattle native John Kehlior, (who’d played with The Frantics and The Daily Flash) on drums for two tracks (“Lucille Has Messed My Mind Up” & “Raye“).  The reception of Lucille was positive, but like all Zappa-related albums up ’til then, did not sell to the masses.

Instead of offering another contract with Straight Records, Zappa went a step further.  He asked Jeff to join The Mothers of Invention. He had already played a one-off concert of the the album Hot Rats.

Around this time Jeff reminisced about his hometown to the U.K. Music journal Melody Maker, saying:
“There’s a lot of music in Seattle, a lot of clubs and musically it’s influenced by San Francisco and even more, Chicago.  For instance when I started playing, the first people I heard were the Spoonful and The New Vaudeville Band.  But it wasn’t long before I forgot them and got into Little Milton and Magic Sam”.

In 1970 Simmons appeared on Chunga’s Revenge, which was Frank’s third “solo” album…even though Zappa included his floating roster of musicians with himself as the main character. The album was largely a transitional one, retaining some of the satire and humor of earlier albums, though heading more toward the avant-jazz of future projects.  It was also the first time Flo & Eddie  (Mark Volman and Howard Kaylan, formerly of The Turtles) made a studio appearance with Zappa.  Jeff Simmons had also stepped up his game with Chunga’s Revenge by playing alongside Ian Underwood again, as well as drummer Aunsley Dunbar, and keyboardist George Duke.  Others who took part in Chunga’s Revenge was John Guerin, Max Bennett and Don “Sugarcane” Harris.

In 1971 Frank Zappa began to film his ambitious art film 200 Motels.  It’s commonly held that Jeff Simmons had quit the band shortly before the shoot began, but it’s not entirely clear what happenedSimmons is seen in the documentary The True Story of Frank Zappa’s 200 Motels-though not credited.  The actual film has large segments based on Jeff.  There is a cartoon segment in which “Jeff”, tired of playing what he refers to as “Zappa’s comedy music”is convinced by his good conscience (played by Donovan) to “quit the group”  There’s an ongoing (inside joke?) of characters saying “Jeff quit the group” throughout the film. “Dental Hygiene Dilemma” sees Jeff smoking a marijuana cigarette which had been dipped in Don Preston’s “foamy liquids” and Jeff’s imagining Donovan appearing to him on a wall-mounted television as his “good conscience”.  “His good conscience” asks Jeff not to steal the towels.   Studebaker Hoch appears to him as his evil conscience in the form of Jim Pons, tells Jeff to steal ashtrays and convinces Jeff to quit the Mothers of Invention, to “et your own group together. Heavy! Like Grand Funk or Black Sabbath.

Although it’s likely he was on set at least occasionally it’s claimed that had read the script of 200 Motels before the shooting and discovered it included things Simmons and others had actually said when they thought Frank was out of earshot.  It’s claimed these negative comments were based on secret hotel-room recordings.  Another version is that Zappa fired Simmons for smoking too much marijuana.  This version would be in keeping with Zappa’s firm rule of not working with musicians using drugs…at least not if it affected their professionalism.  But the former version would back up Zappa’s habit of taping discussions among band members (recorded with or without their knowing it).  They were “anthropological field recordings” as Zappa liked to call them.  It would be a more interesting story if Simmons had actually quit because he was angry about the secret recordings.  But it’s just as probable that he was fired for his objection to the  script.  Many years later full songs, out-takes and interviews were included on Playground Psychotics. The album includes a track called “Jeff Quits” and further complicates the question of whether Simmons quit or was fired.  Jeff probably was smoking too much pot and he may have well wanted to move on from Zappa.  In 1972 Frank Zappa told Jip Golsteijn of the Dutch magazine OOR:

“Jeff Simmons is a great bassist, which will become obvious to everyone during the European tour, but I thought he had another talent. He was a comedian and I wanted to exploit it, especially because we use  quite visual elements in our shows. I let (Jeff) play Rudolph the Reindeer which has always been a huge success. Initially, he had no objection, but I was told after a while that he considered himself a heavy bass player not a clown. I knew which way the wind was blowing since Jeff’s wife had  recently said something like that to me. His wife, of course, complained that he should not be misused by me and should leave the group.  Jeff told me in honesty that he was seriously considering starting his own band.  I then said ‘can’t we play that conflict in 200 Motels that he wanted to quit’?
Then at Pinewood Studios ( London), where we recorded the film, I thought we could show Jeff brooding in a hotel room and is torn by doubt. His good conscience tells him to stay in the group, but his bad conscience tells him that he will be made a fool by Zappa and that he has become the real heavy bass player he really is. When Jeff heard what this meant, he turned quite pale, because he took it as a dig, although he knew exactly what was intended. Shortly afterwards he quit the group anyway…precisely at a time when we could not afford to lose him, right in the middle of recordings. Eventually we decided to change Jeff’s portion of the film. Another part was created for Martin Liquort (Ringo Starr’s driver) that is reminiscent of Jeff.  In the scenes where ‘Jeff’ is  playing, it’s Martin in the background with a guitar in his hand. Martin can not really play.”
(Zappa’s words here have been translated to English from Jip Golsteijn interview, originally written in Dutch)

Athough Jeff doesn’t appear in the film there’s an ongoing line of “Jeff has quit the group” sprinkled throughout the dialogue as an inside joke. One long animated sequence called “Dental Hygiene Dilemna” finds a very high Jeff  struggling with his good conscience (who he believes to be Donovan on a wall mounted TV screen) and his bad conscience.  Among advice Jeff’s good conscience  gives him  is”don’t rip off the towels, Jeff“.  His bad conscience soon appears and says “Jeff, I’d like to have a word with you . . . about your soul. Why are you wasting your life, night after night playing this comedy music?” Jeff replies “I get so tense“.  “Of course you do my boy” says his bad conscience.  That’s why it would be best to leave his stern employ….You’ll make it big!”  “That’s right” says Jeff.  “And then I won’t be SMALL!” This is the real you!” Jeff’s bad conscience tells him  “Rip off a few more ashtrays. Get rid of some of that inner tension. Quit the comedy group! Get your own group together. Heavy! Like GRAND FUNK! or BLACK SABBATH “.”Like COVEN!” shouts Jeff.

Apparently it would take animation, in the absence of Simmons, to complete Frank’s vision.

Whatever the reason for Simmon’s leaving, by 1972 he was back in the fold of musicians Frank Zappa employed to record Waka/Jawaka • Hot Rats.  He also continued to tour with Zappa’s band, and took part in the 1974’s Roxy and Elsewhere.  The album includes a live performance at The Roxy Theater in Los Angeles (with some overdubs) recorded the 8th, 9th and 10th of December, 1973.  The Elsewhere” tracks (“Son of Orange County” and “More Trouble Every Day”) were recorded on May 8th, 1974, at the Edinboro State College in Edinboro, PA.  Sections of “Son of Orange County” were also recorded on May 11, 1974, at the Auditorium Theatre in Chicago but does not contain overdubbed material.  Jeff Simmons plays rhythm guitar on all tracks and adds occasional vocals. After Roxy and Elsewhere, Jeff played live with some of  Zappa’s succeeding live performances. He’s also heard playing on some of the “official” live albums that were released after Frank’s death.  Recordings Zappa  probably wouldn’t have allowed to be released because of their poor audio quality.

Jeff Simmon’s recorded legacy with Zappa had included  him providing bass, guitar, and/or vocal for Chunga’s Revenge, Waka/Jawaka, Roxy & Elsewhere, You Can’t Do That On Stage Anymore Vol. 1, You Can’t Do That On Stage Anymore Vol. 6, and Playground Psychotics; He’s also featured on the Beat The Boots series of bootlegs that were later released by Rhino Records.  Disc’s he’s included on include Freaks & Motherfuckers, Unmitigated Audacity, Piquantique, Disconnected Synapses, Tengo Na Minchia Tanta, and At The Circus 

Although Jeff’s history after saying goodbye to Frank is a bit sketchy, by 1980 he found his way back to Seattle.  In the 80’s, Simmons was busy performing with such bands as The Backtrackers, The Shimmering Guitars, and Cocktails For Ladies and as his alter-ego l’il Bobby Sumpner and his band The Stump Blasters. He claimed in the 1990’s, he was writing a book (“I Joined The Mothers Of Invention… For The F.B.I.”) which is now in unpublished manuscript form.  Given Jeff’s sense of humor it’s hard to know if the manuscript actually exists.  It would be hard for a publisher or editor to pass up a book based on Jeff’s time with the Mothers…even the title is intriguing!

In 1982 Frank Zappa appeared as a guest DJ on BBC radio (UK).  He played some of his favorite songs including “I’m in The Music Business” by Jeff.

In 1988 Jeff was featured in the psychotronic  “grunge” inspired local film Rock and Roll Mobster Girls, directed by Rick Werner.  Aside from being barrels of fun the film also includes more Seattle rock luminaries as well as local fans.

Over the years Simmons had worked on material for a potential new CD. He says it is the culmination of 20 years work. Finally, in 2004 he was able to release “Blue Universe” which got rave reviews.

In the webzine Jet City Blues Mark Dalton wrote:

“Jeff Simmons, a man with his heart in the blues no matter what he’s doing, has a hilarious persona as a performer that draws from this same well. Simmons has written a whole cycle of great tunes about “Treatment,” for example – with a couple such tunes residing on this CD. Simmons’ ne’er-do-well musician character is always one step ahead of those pesky treatment program guys – whether he’s “Breakin’ Out of Treatment,”or kicking back and enjoying the life of a “Treatmon’ Center Playboy” while he’s there, as he does on this CD.

In November 2010, Jeff Simmons took part in a Q&A session at the “Frank Zappa At The Roundhouse” celebration of Frank Zappa’s music in London. Jeff played with the Dweezil Zappa Played Zappa band at the same festival with special guests Ian Underwood & Scott Thunes as well.  The celebration also included the UK premiere of “The Adventures of Greggery Peccary” an avant-symphonic work that is one of Zappa’s most epic and most popular classical pieces.  Besides The Adventures of Greggery Peccary, the London Sinfonietta played Zappa’s “Revised Music for a Low Budget Orchestra”.  The performance included a solo set by Jeff as a multi-instrumentalist and a long-time member of Zappa’s circle.

Archival footage of Jeff Simmons was included in Thorsten Schütte’s 2016 documentary Eat That Question: Frank Zappa in His Own Words

IMDb credits Jeff Simmons for sound editor of several TV series during the 90s but I can’t confirm this is the same Jeff Simmons.  Any information would be welcome.  Also feel free to offer corrections or comments below.

-Dennis R. White. Sources; “Jeff Simmons” (Zappa Wikijawaka); Lemonde Kid “Its too late for them to get their due but Katz needs to get HIS!” (Love:  The Message Board for Love Fans, October 12, 2011); Mark Dalton, (“Blue Universe CD Review” Jet City Blues, November 19, 2005); “Jeff Simmons” (spotify.com); “Jeff Simmons” (World in Sound, worldinsound.com); “Jeff Simmons – ‘Lucille Has Messed My Mind Up” ( The Day After Sabbath, Jan 23, 2015) “Jeff Simmons” (Melody Maker, December 5th 1970);  Dean R. Hegerty,”A Guide To Straight Label Records & Compact Discs” (United Mutations, 2002); “Jeff Simmons” (lastfm.com) “Eagles Auditorium” (A Seattle Lexicon)callihan.com/seattle/pophist.htm); Jeff Simmons-Lucille Has Messed My Mind Up (allmusic.com); Alan J. Stein “Sky River Rock Festival and Lighter Than Air Fair opens a three-day run near Sultan on August 30, 1968” (HistoryLink.org, Essay 5425. March 15, 2003); “Easy Chair” (Clearspot, www.clear-spot.nl/item/410251/easy_chair_easy_chair.htm); “FZ and Secret Recordings” zappateers.com, July 20, 2010); Jip Golsteijn “De industrie wilde het Fillmore album ontzettend geil aanprijzen”(OOR Magazine, Issue 15. 1971); “Frank Zappa at The Roundhouse”(The 405, September 17, 2010); James Bush, “Easy Chair” (Encyclopedia of Northwest Music. Sasquatch Books, 1999); “Naked Angels” (IMDb.com); 200 Motels. film “Dental Hygiene Dilemna” sequence (directors Frank Zappa & Tony Palmer, 1971); “The True Story of Frank Zappa’s 200 Motels” film. (written and directed by Frank Zappa, 1988); “Eat That Question: Frank Zappa in His Own Words” film. ( directed by Thorsten Schütte, 2016) Scott Hill “From Straight to Bizarre Explores Frank Zappa’s Freak Indies” (Wired Magazine, January 19, 2012); “Jeff Simmons” (IMDb.com)

 


 

 


 

PAT WRIGHT & THE TOTAL EXPERIENCE GOSPEL CHOIR

Since it’s formation in 1973 the Total Experience Gospel Choir has travelled the nation and across the globe, from the Far East to Europe to Russia and a lot of places in between.  Under the tutelage of Pastor Pat Wright, the Total Experience Gospel Choir has  journeyed to Japan where they not only presented their ministry through song, but also delivered supplies to victims of the Tōhoku Earthquake and Tsunami who had taken refuge  in Ishinomaki, Japan. In 2006 the Total Experience Gospel Choir also travelled to Texas, Louisiana, and Mississippi to help victims of Hurricane Katrina and to rebuild and refurbish homes for hurricane victims in Gulfport, Mississippi.

Pat Wright was honored for her and the choir’s efforts by ABC News World News Tonight.  In May of 2007 she was named one of that month’s Person of the Week, and later in a broadcast on December 27 2007, Pat was declared one of 2007’s “Persons of the Year”. It’s clear that the choir is not only one of the Northwest’s greatest musical assets, they spread their ministry through music, and actual, on-the-ground help.

Aside from performing for President Bill Clinton and President Obama,  the Total Experience Gospel Choir have been featured at prestigious venues from the Sydney Opera House to The Mormon Tabernacle.  Even though they’ve been ambassadors around the world, and won many prestigious awards, it’s clear the Pastor Wright’s greatest mission is to the uplifting of her own community, here in Seattle.

Pat Wright was born Patrinell Staten in Odessa Texas as one of eight children.  Her father was a Baptist preacher and her mother taught school.  Both parents urged her to pursue a career in gospel music.  Having started to sing at an early age, Pat performed her first solo at the age of 3 and by the time she was 14 Pat had taught herself to play piano and was directing two choirs in her father’s church.  Her parents saw to it Pat grew up in the church, but education also played an important part in her upbringing.  Pat graduated as valedictorian of her high school class (Turner High School, 1961)  and later attended Prairie View A&M College just north of Houston TX.

Pat first arrived in Seattle in October of 1964 to help her sister, who was then going through a divorce.  Her intention was to be of assistance to her sister, and then move back home.  She later explained her plan to return to Carthage, but then discovered she could make $7 a week in Seattle compared to $3 back home.  She chose to throw her lot in and remain.

At the time Pat moved to Seattle, the nation was embroiled in the Civil Rights struggle.  Pat had felt the sting of segregation and discrimination back in Texas, and on her bus trip from Carthage to Seattle.  In 2014 Pat told local Seattle (and PBS) TV presenter Enrique Cerna:

“The bus ride took about four days. Being the only African American and the only female on the bus for the last 2500 miles was quite an experience. When she finally got to Seattle, after having survived just about every abuse on that long ride, she wanted to get back on the bus and go home. “But I’ve always had a bulldog tendency,” she admitted. “I decided to stay. The lessons I needed to survive…gave me a backbone that won’t quit.”, they’ve always told me that. And I decided that I was going to stay. But it was a very hard time for me because it was at the height of the civil rights movement, and I had participated in the civil rights movement personally, because I was in college at the time. A small college, A&M, now university…”

Having decided to stay in Seattle, Pat naturally gravitated toward the church and to gospel music in general.  Her sister lived in Renton, but regularly visited a church in Seattle. On one of their trips into Seattle to attend church one Sunday Pat says she heard music coming from a church across the street. The church she was sitting in must have bored her and she was drawn to the other church.  She walked across the street and entered the church.   “I remember stumbling over somebody’s feet trying to get a seat because the place was pretty packed. And that somebody happened to end up being my husband” Benny Wright who became a preacher in his own right, has always been critical in Pat’s Total Experience Gospel Choir and her other endeavors. Benny also became teacher and football coach at Seattle’s Franklin High School and also served as head chaplain for the King County Youth Detention Facility in Seattle.  Both his and Pat’s ministry have always revolved around helping at-risk youth.




Pat says she always knew the ministry was her calling, but for a brief period she walked away in order to pursue a more secular side of her life.  She says she briefly gave up gospel back in the late ‘60s. “Actually decided I was tired of gospel, so I was going to try my hand at soul music.”

As music historian and author Peter Blecha wrote in 2013:

“In 1969 Wright was discovered singing in church by a recent Louisiana transplant, LaVera Clark, who took Wright under her wing, telling the songbird, as Wright recalled years later, “A voice like yours — the world needs to hear it and they’re not gonna hear it in church. They are not going to church to hear it! … Especially in Seattle” 

The two began composing songs together and then making test recordings in Clark’s little home studio (2407 E Boston Avenue). Clark then matched the singer with a previously existing group, the Blenders, and they re-emerged as Patrinell and the Casanovas. Clark, who wanted to promote rhythm and blues music locally, then formed her own Sepia Records company to do so. After a trip to Vancouver, B.C., to record a few songs, Sepia released a single — “I Let a Good Man Go”b/w”Little Love Affair” (Sepia Records No. 8201). By September, Seattle’s soul station, KYAC, began pumping it up to hit status locally”.

The pressing on Sepia Records was small, but that didn’t stop it from being a regional R&B hit…but the story of Pat’s foray into R&B and soul goes much deeper.  We’ll leave that story to a seprate, future post.

By 1970 Pat had been hired by the Seattle School district to lead a class in gospel music at Roosevelt High in the north end of the city. Pat initially led what was known as The Franklin High School Gospel Choir.  It was later known as The Black Experience Gospel Choir  The Seattle School District hired Wright to teach and conduct gospel music.  She also began work at radio station KYAC as a DJ playing a gospel music program that lasted 13 years.  She had begun her own gospel group, Patrinell Wright’s Inspirational Seven.  The Inspirational Seven were guests of churches around town as well as taking part in organized events in support of the still simmering racial divide in the US and as a way to support self-determination among the black community at large, drives to fight sickle-cell anemia and to help raise funds for KYAC among other causes.

After two years teaching gospel choir at Roosevelt High, funds for her program dried up and Pat was left without a day job.  But this set-back proved to be the birth of Pat’s Total Experience Gospel Choir.  She began taking the lessons she’d learned in her gospel background, her secular experience and her ministry to young people through music.   In the process she created one of Seattle’s longest-running musical outfits, based on Pastor Wright’s determination to help kids in her community.   She wanted to offer a safe, positive environment at-risk youth could escape to, and allow them to take part in the world outside their own neighborhoods.

Soon after forming the Total Exerience Gospel Choir it swelled to over 100 students that she’d brought along from Roosevelt High and the Mount Zion Baptist Church. Soon Pat opened the choir to non-students and people of all ethnic background and race, even though the thrust of her work remained her ministering to black youth as well as other communities of color.

One of the most remarkable aspects of  The Total Experience Gospel Choir is that there are no auditions in order to be a member.  From the beginning Pat seemed to take the position “if you can’t sing, come on down-we’ll teach you”.  Despite causing the Choir to become chaotic and unfocused, the opposite occurred-Pat’s Choir began to win awards and honors both in the Northwest and around the nation-and beyond.  The Total Experience Gospel Choir would become one of America’s most famous and most beloved Choirs in the country.  With more recognition the Total Experience Gospel Choir were able to raise the money it takes to take a large-scale choir on the road-both within the US and outside.  The Choir has won numerous awards and traveled to 38 states and performed on five continents in 28 countries at last tally.  They have been welcomed with open arms everywhere they’ve gone.

Pat worked ceaselessly and seemed capable of juggling the tasks to run the choir, to continue in her own ministry, plan tours, raise money, become a soloist in her own right, and finally to open and run her own store-front church.  Granted, Pat relied on volunteers, but even the co-ordination of volunteers took a great deal of energy.

Eventually disaster-or divine intervention-came into Pat’s life.  On March 18, 2001 Pastor Pat Wright was struck by a heart attack.  Pat believes she died that day, but God sent her back to continue her work and her ministry.  Pat had been born with a hole in her heart, but her family had no money for doctors growing up, and the condition went unknown until a medical examination when Pat was 23 years old.

Once healed from her brush with death, Pat went back to her hectic schedule-and also became an ambassador for the American Heart Association.  In 2006 she told Seattle Times reporter Nicole Brodeur that sometimes her colleagues feel uncomfortable when she speaks of divine intervention and the gates of heaven.

“They don’t think faith should be a part of it,” she said of her survival story. “But how could it not be?”

As the Choir began to become more well-respected Pat recognized the need to bring of all ethnicities into the choir. This particularly hit home because, as she says, she grew up in the South where mixed marriage-at least during her youth-was very uncommon.  As Seattle became more enlightened she noticed more and more children of mixed-ethnicity were becoming members of the Choir. She realized that they (and others) deserved to learn about their heritage no matter how Caucasian they might look.  Besides, both Caucasian and kids-of-color were facing the same temptations and dangers.

Pat had also opened more opportunities for adults to take part.  A good deal of them were white and they still remain an important part of the Total Experience Gospel Choir-both those who are married to people of color, and those who have married within their own ethnicity. But the goal she’s always worked toward is improving the lot in life of at-risk kids…who are more often found in the African-American community  This is an attitude Caucasian and mixed ethnicity adults in the Choir also share.

The 1990’s and early 2000s saw the Total Experience Gospel Choir attract more and more attention and these years may possibly be the most successful of the choirs mission to date.  Although Pat remained dedicated to her gospel roots she would make a very unusual move in during the early 2000s..  Seattle-based Light In The Attic records released the album Wheedle’s Groove: Seattle’s Finest In Funk & Soul 1965-75 in 2004.  The album included artists who had been involved in the early Seattle Sound that developed in the late 1950s and into the 1960s.  Pat Wright’s only soul single (I let a Good Man Go b/w Little Love Affair) was included in the boxed set of newly pressed 7″ singles.  A  reunion show and the release of the album was so well-received that almost immediately a follow-up album was planned.  This newer release would include artists that had previously worked with one of the Northwest’s most important studio engineers, Kearney Barton.  Barton had been instrumental in developing the Northwest Sound by recording The Wailers, The Ventures, The Sonics, The Fleetwoods, The Frantics, Quincy Jones, Dave Lewis, The Kingsmen and other artists that were responsible for establishing a regional sound that was every bit as important as the “grunge” coming out of Seattle in the 1990s.   Paricipants in the new recordings did both originals and covers of current music.  The tracks were recorded at Barton’s original studio, Audio Sounds, and fittingly as analog recordings.

Pat Wright and the Total Experience Gospel Choir chose the most audacious song of the collection on what would be released under the title Wheedle’s Groove: Kearney Barton.  Their choice was a cover of Soundgarden’s Jesus Christ Pose.  Despite the title, Jesus Christ Pose was a secular piece of rock music that was critical of celebrities, private and public figures that used religion in a false show self-aggrandizement.  In short, it was critical of those who used religion as a hammer.  In an incredible turnabout Pat and the Choir turned the tables on the meaning of the song.  The point Pat was making was equally critical, but it was aimed at Christians believing themselves better than others, rather than the pretention of celebrities trying to criticize religion itself.  Pat and the Total Experience Gospel Choir managed to turn what might be thought of as a cynical and non-religious song into a warning against intolerance and self-importance.  Reports at the time indicated that the members of Soundgarden liked Pat’s rendition.  It’s such a powerful version that it’s hard not to like!  It clearly impressed music fans that had not given gospel music much of a listen.  The performance was roundly praised by critics as the finest song in the fine collection found on the album.

Shortly after it’s release in 2009 Pat Wright told Dave Segal of The Stranger:

“I was asked to put my own personality on it. I thought that the music was great. Soundgarden is a very powerful group. I was already working with the gentleman [Matt Cameron] who played drums for them… on another project. So I felt very comfortable doing it. And besides, the words of the song epitomize what I try to say in my sermons and the way I live my life. [Light In the Attic Records] said, ‘You can put a little gospel twist on it.’ Well, I’m a gospel singer and a minister and a pastor, so therefore I put my little twist on it.”

For the last few years Pat Wright has continued to work with the Total Experience Gospel Choir, taking their ministry of song around the country, and lending a practical hand where they see they’re needed.  Pastor Benny Wright has retired…a few years ago he had knee surgery.  Pat continues to be the whirlwind she’s always been, but has had to slow down a bit.  As of this writing (September 2017) she is working on a new album and continues to solo with the choir.  Aside from their usual appearances the Choir has backed up artists as diverse as Barry Manilow and Dave Matthews.  The majority of the current members of the Total Experience Gospel Choir are adults that have grown up in the Choir, or joined within the past decade or two.  Sadly, gospel music has fallen out of fashion among younger people these days, and the black community’s roots in the church have become less important.  But gospel music lives on despite it’s adversities….another total experience in the history of blacks in America.  It is certain to make a renewal, the more that people understand it’s importance in itself, and to pop music.

Many music fans today ignore gospel music, probably because of it’s roots in Christianity.  But the fact is that most of the great R&B and Soul artists of the past and present have deep roots in gospel and in the church.  It was the secularization of the lyrics, not the music of gospel that gave rise to artists like Aretha Franklin, The Winans, James Brown, Ben E. King, Otis Redding, George Clinton, Sister Rosetta Tharpe and a host of other widely vaying artists.  Even the Queen of Gospel, Mahalia Jackson has an important place in the development of popular music.  It was Mahalia, more than anyone that brought gospel music into American homes through TV and radio.  If you’re one of those who feel turned-off by religious music, have a listen to any good gospel choir.  Let the sound and the passion roll over you.  You will soon find yourself tapping to the music and experiencing the communal joy that gospel brings.  At the very least Pat Wright and The Total Experience Gospel Choir deserve a listen.  You might just see them for what they are; an important, but too-often overlooked part of Northwest music history.

For upcoming live performances of the Total Experience Gospel Choir see the schedule at http://www.totalexperiencegospelchoir.org/calendar

 

-Dennis R. White. Sources: Nicole Brodeur “Heartening Glimpse of Heaven” (The Seattle Times, February 23, 2006); Unknown Author “Pat Wright: Seattle’s First Lady of Gospel” (Northwest Prime Time, November 29, 2014); Peter Blecha “Wright, Pat b.1944” (HistoryLink.org Essay 10392, June 16, 2013); Interview with Enrique Cerna (KCTS, January 30. 2012); Misha Berson “Pat Wright’s Total Experience-Seattle’s Mistress of Music Lives The Gospel She Sings” (The Seattle Times, December 10, 1998)  Terry Morgan (interview with the author, September 22, 2017); Dave Segal (Barton Funk in the Soundgarden of Eden: How Wheedle’s Groove Revived Old-School Seattle Soul, September 3, 2009); Jason Ankeny (Patrinell Staten Biography, allmusic.com); Total Experience Gospel Choir home page ( http://www.totalexperiencegospelchoir.org/ ); Photo: Christopher Nelson.

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

IDIOT CULTURE

The band that became known as Idiot Culture was the last project by reclusive Seattle guitarist Byron Duff. Byron began to make his mark in the 1980’s with the trio The Spectators. The Spectators were known for jaw-dropping, tight performances in the underground clubs that spawned the emergence of what would later be the 1990’s Seattle Scene. Bob Mould (Husker Du, Sugar) once called The Spectators “the best unreleased band in America”. Although the band lasted no more than a year they saw opening and touring spots with the Husker Du, The Dead Kennedys and The Stranglers among others. Although Mould’s comment was prescient, the band never landed a major record deal. They’re now one of the almost-lost treasures of early 80s Seattle rock.

In 1986 Byron Duff formed ’Dive’, the band that would later be called Idiot Culture, with bassist TJ West and drummer Steve Dodge.   Duff had met TJ West in high school had played with him in the late 70s/early 80s band Klappenstompp, along with Randy Berry on drums, and Gary Bauder on lead vocals.  Later Duff would play with The Envy which was comprised of Byron Duff on guitar and backing vocals, Rick Hill on bass,  Gary Bauder on lead vocals and the late great Dave Drewry on drums.

Unfortunately Dive would be an unheralded band that helped define the new”grunge”sound and the more intense attitude coming out of the Northwest.  Dive continued in the mid-80s, recorded an impressive set to be released as an album in 1986, but never got the attention they deserved. Eventually the three disbanded and spent several years out of the limelight due to Duff’s ongoing health problems. It was during these years that Duff first showed the signs of Multiple Sclerosis that would later end his career as a performer. It’s been noted that Byron Duff, at the height of his powers, was the best Seattle guitarist of his generation. It’s not hyperbole.  Listening to Duff’s playing on their live-recorded debut it’s a difficult point to argue. Unfortunately his trying to shop his demo, Duff faced indifference.  He even recalls approaching the local label Sub Pop (who would later popularize the kind of music Duff was playing) and being turned down.

Because Byron Duff had been missing from the Seattle music scene for a number of years, his reemergence and his last album was highly anticipated. Though the album had been recorded in 1986 and remained unreleased, it was mixed by the renowned producer Jack Endino almost two decades after it’s recording.  Endino had seen the band during it’s life and had even shared a stage with them while he played in Skin Yard. At the time of the recording the band had called itself Dive, but too many bands had already used that name, including one particular pop band that had been signed by a major label.  Idiot Culture seemed the natural name of choice since Duff had used the name earlier in some of his one-off projects and performances.
Endino’s deft hand took care not to detract from the original intention of the recordings, leaving it full of trance-like riffs and hypnotic hooks. This was proto-grunge that stood alongside the best-selling recordings of the 80s and 90s, and is still relevant because of it’s readiness to take on a varieties of rock and roll.  One minute the sound may seem metallic or punkish.  A few bars later the melody is overtaken by jazz chords. At times the prog rock guitar suddenly transforms into a surf riff.  Duff may have been seen as the “star” of the band, but it’s clear he had sought-out the strongest drummer he could find and a bassist that could keep up with his musical demands.  TJ West on bass and Steve Dodge were both top of the line players, and exactly what was needed to make the band as strong as it was.

Dive’s sound was heavy, but their music was still a hybrid of seemingly contradictory styles.  Their only album takes on even more significance since it was recorded live in-studio without overdubs.  The tight, challenging performance is extremely impressive given it being it recorded in one take at Seattle’s Electric Eel Studio.





According to drummer SteveDodge, who’d played with The Numatics, Alien Nation and The Harvard Surf Club as well as filling in on drums for many local outfits “Dive is the best band I have EVER played in.  People were so shocked when we played. Byron Was GOD”…It’s true that Byron had an incredible talent but he was also driven to perfect his style.  Byron was a very humble man, but he didn’t hold back onstage.  Steve also recalls watching Byron’s former band, The Spectators playing before The Numatics while he was drumming with them  It was a day-long gig at The Showbox in downtown Seattle. 1979. “Me and my Dad were watching them before I went on. He looked at me when they were done and said, “Good Fuckin Luck”.

 Although the band did not shy away from other musical influences, it’s clear the band was pioneers among those who would later be christened “grunge”.  Noted critic Everett True went further in writing a review:

“I have no idea who Idiot Culture are. I am sure I can look them up, and I’m sure I will, but right now I’m wallowing in the deep Gothic undertow of their brutal, traumatized grind. (Yeah, remind me. I’ll go back and sort those mixed metaphors out later.) The vocals sneer, all diffident and knowing and uncaring or rather caring but not caring to show it, like Richard Butler or Jim Thirwell or Tad Doyle or someone. The music is all jagged metal ends, relentless and pulsating, shards of Krautrock cutting through the gloom. Guitar solos are sheer torture, deliberately: the very nicest kind of grating. Man, it reminds me of my glory days back when I drank, back when I reinvented myself as some sort of music press god, back when grunge creatures stalked the earth. Nice”.
He went on to add;
“Turns out I wasn’t so far off, at all. Mixed by my old friend Jack Endino – one of the most awesome grunge monsters ever to stalk the earth – and Idiot Culture hail from Seattle. Yeah, damn. This is so molten and heavy, and full-on fucking ROCK, it makes the term ‘grunge’ seem patsy-waist in comparison”.

The band, despite the tightly wound arrangements were not afraid to tread into the realm of momentary unrestrained chaos just for the joy of it. There’s always something unexpected to rise to frenetic levels, but the pace is leisurely enough to allow the soundscape to fully sink in.  Idiot Culture used long hypnotic passages and favored guitar drums and bass as a way of delving deeply into compelling sounds rather than rely on solos.   It’s even more ironic given the incredible abilities Duff processed.  Duff, West and Dodge were all extremely talented on their respective instruments. In professional circles outside Seattle Duff has long been regarded as an extraordinary guitarist.  He made good use of his ability to play several divergent guitar parts in unison as well as abrupt effects changes. The results always left audiences amazed.

Unfortunately Duff had to give up music just as he was gaining wider respect. He was struck down by Multiple Sclerosis. It’s unfortunate to have lost a musician who would probably have played a bigger part in the Seattle sound of the early-mid 1990s. Luckily there are a good deal of live and studio recordings from his days with The Spectators, Dive and Idiot Culture.  The only full album he and his band mates is generally unheard and underappreciated simply because the band was not able to continue after Byron Duff became ill.  But the music lives-albeit digitally rather than the analog recordings that are superior.  Perhaps one day a label with a bit of sense will re-release one of the greatest unheard Seattle albums of the 1980s-1990s.  In the meantime the tracks are available as downloads, and more than worth taking a chance on listening to.  You will be left wondering why you hadn’t taken time to see or hear them back in the day.

 

Dennis R. White-Sources; Conversations with Byron Duff (1981-2005);  Coversations with Steve Dodge (2005-2006); Everett True (Collapseboard, March 25, 2011, collapseboard.com); Gary Bauder; Special thanks to “Outa-Spaceman Being:52” for the sculpture ‘Awww, Bless’

THE CENTER FOR DISEASE CONTROL BOYS

The Center for Disease Control Boys was a loose-knit satirical Country, Western and Folk band formed in Seattle in 1986. Their performances included a mixture of original compositions and older songs written by such artists as Bob Wills,  Asleep at the Wheel, and Woody Guthrie. Their stage show used an extensive array of props and costumes such as bales of hay, stuffed roosters, rubber trout, and wads of self printed ‘country currency’. Although the band was only in existence for six months, they are noteworthy for their ever changing lineup of musicians and performers which included Chris Cornell of Soundgarden Jonathan Poneman, co-founder of Sub Pop Records, and Ben McMillan, lead singer for Skin Yard and Gruntruck.

The CDC Boys was a design and musical collaboration between Dean Warrti and George Hackett. Warrti was manager and booking agent for the Ditto Tavern, which filled a void in the local music scene by providing a venue for folk, punk, art rock, and emerging grunge bands from the Northwest. Hackett was an accomplished guitarist who worked at Boeing and shared Wartti’s interest in cultural satire, diverse musical tastes, and leftist politics. Warrti had a background in theatrical performance and design. As they wrote the songs and assembled the props and graphics, the two realized that a diverse cast of band members could be found within the roster of Ditto performers. Rehearsals were held at the artists collective SCUD (Subterranean Co-operative of Urban Dreams).  The building had previously been the very neglected Sound View Apartments, and before that an SRO hotelSCUD became an incorporated collective and leased the building in Belltown where a plethora of bohemian artists that included Ashleigh Talbot, Art Chantry, Cam Garret,  Arthur Aubrey,Steven Fisk and Willum Hopfrog Pugmire. All had at one time or another been residents.  It’s been reported that Jack Kerouac stayed at The Sound View Hotel a short time during his stop in Seattle in September of 1956.  He had spent the earlier summer at a fire watch look-out in the North Cascades.  He later wrote about the underbelly of Seattle and it’s downtrodden waterfront in a short story called Alone On A Mountaintop.
The building was at one time referred to Seattle residents as The Jello Building since the entire north side of the building was decorated with a multitude of Jello molds.  It was a natural place for the CDC Boys to begin life.  Eventually an opening performance was booked at the Rainbow Tavern as part of a KCMU radio showcase the began the band’s short but illustrious career.  More bookings followed, as well as frequent appearances at Warrti’s Ditto Tavern.

The line up for the debut of the CDC Boys live show was:
Dean Warrti: vocals, washboard, accordion
George Hackett: Twelve string guitar, vocals, waders
Ben McMillan (Skin Yard, Gruntruck): vocals, cowbell
Tamara Jones (Brides of Frankenstein): Double bass, vocals
Bob Maguire (The Subterraneans): vocals, guitar
Gary Heffern (Penetrators): vocals, stage presence
Chris “Jake” Cornell (Soundgarden): drums, vocals, grunts, overalls
They were also joined onstage by the  Americana instrumentalist Orville Johnson: fiddle, mandolin.

The CDC Boys shows also featured singing cowgirls who freely dispensed hay, empty Shake ‘N’ Bake boxes, and wads of ‘country buckeroos. They were Juliana Wood and Debra June Connor.

As the CDC Boys existed mainly as a comedic side project for all concerned, the band’s line up continued to change, and included the following at various times:
Jonathan Poneman (bass)
Artie Palm (mouth harp, saxophone, and guitar)
Tim Bowman (accordion and musical saw)

The CDC Boys concluded their brief career by releasing a 45 single “We’re The Center for Disease Control Boys” b/w “Who We Hatin’ Now Mr. Reagan?” on their own Fin De Siecle label. Their final performance was at Seattle’s annual Bumbershoot Festival, where they debuted a stirring opus to the Kennedy Assassination entitled, “Grassy Knoll“.

Throughout their career, The Center for Disease Control Boys played only nine shows, but they put out a 45 vinyl single on Fin de Siecle Records in 1986.  They would have probably become a footnote if it weren’t that Chris Cornell had once been a member.  There has always been rumblings of curiosity among his fans, but since Cornell’s death in May of 2017 the few copies of the CDC Boys single on the collectors market have skyrocketed.  A long-awaited re-union has been anticipated for several years, but never come to fruition.  In 2013 co-founder Dean Warrti recalled one of the band’s gigs and it’s aftermath in the blog Tales From The Bales.


EPISODE  THREE: ‘A Bale of Hay and the Green River Killer’

Well. a Bale of Hay is a lot like Minnie Pearl in a corset; manageable when trussed, but a heck of a lot to handle once unbound. It was a rainy night in May, a Saturday. I think we had hosted our record release party the night before at the Ditto, As usual, the band booked for this night had asked us to leave the single bale in place for their use; nobody wants to scare up hay on their own….but if there’s a bale in place, what the heck?!?! In this case the Headliner was the Walkabouts, good friends of the Ditto and also of Hay.

After their set, the Ditto emptied out pretty fast, it was really pouring now. We sat at a booth downing pitchers of ‘low brow’ and making idle chatter…..I really wanted to go home. As the Walkabouts did have a van, I suggested that I buy them a couple of pitchers and that they, in return, would cart off the hay bale to parts unknown. The deal was made and I headed off, leaving the bartender to close up.

The next day, Sunday, I got a call from the Fire Department at 8 am. The Captain was quite stern. He informed me that there was a large amount of hay flowing from the dumpster in back of the club, trailing out onto the sidewalk and the street in front of the club. I couldn’t think of any road that led to ‘plausable deniability’, I mean, what could I say? He informed me that I had two hours to clean up all the hay or be cited and fined, well, a lot; about a month’s revenue at the time. I called Andrea and explained the situation and she came right down from Capital Hill in her compact car. I did have some large trash bags on hand and we began to stuff them with wet and heavy hay. Loose hay, man that takes up a lot of space….that’s why they bale it I guess. We must have had about five 30 gallon bags stuffed full by the time we were done. They barely fit in the trunk and back seat. Now…..where to get rid of them?

We figured we couldn’t dispose of them anywhere downtown as the SFD was wise to us and there were no promising empty lots to think of, so we headed up to the north end of Capital Hill. I remember we had the am news on the radio and there had been yet another victim’s body found; again the work of the Green River Killer. It was the height of the civic panic but no clues were forthcoming. At last we found a suitable hillside and pulled over. Now here are two caucasians, 30 something, trolling Capital Hill early on a Sunday morning and attempting to remove heavily stuffed trashbags from the trunk of a car, next to a wooded hillside. It did not look good, and soon the other traffic on the road seemed to consist only of single women in Accuras and Toyotas, slowing down and making note, and perhaps notes, of our activities.

This scenario was repeated at each stop we made, perhaps 4 in all. At last we figured the we did really have to start thinking like killers, so we headed off to the Arboretum, suitably deserted at 10 am. We made the drop unobserved, clenched our teeth, wiped away the sweat, and headed to the Deluxe for a beer….

-Dean Warrti

 

George Hackett, who worked at Boeing at the time of the CDC Boys, went on to become Andrea Hackett, founder of the Las Vegas Dancers Alliance, the most widely-known organization of strippers in Las Vegas.  She now publishes an online journal called “The Flubug Journal, a satiric, fictional small-town paper.

Ben McMillan died in January 28, 2008 in Seattle from complications related to diabetes’

Jon Poneman is the well-known and respected manager/owner of Sub Pop Records

Gary Heffern now lives near the arctic circle in Finland.  He continues to write and record.

Tamara Jones went on to perform in the band Brides of Frankenstein, and is now a real estate agent in the Seattle area.

Dean Warrti was last spotted in Boston.  He continues to present satirical events and create general mischief.

Orville Johnson lives near Seattle and continues his life-long interest in teaching, recording and generally playing any instrument connected with traditional Americana.  He has contributed not only to the preservation of traditional music across the US, but has forever established himself as a vital part of Seattle’s music history.

Chris Cornell died on May 18, 2017 of an apparent suicide

 

-Dennis R. White.  Sources;  Dennis R. White (facebook post 04/01/2013).  Andrea Hackett.  Dean Warrti;  Tim Crowley, “SCUD Stories” (Orgone Research, 02/06/2010) Dean Warrti, “Tales From The Bales” (04/ 10/2013)

All additions and corrections are welcome.

 

 

3 SWIMMERS

The band that would become 3 Swimmers rose out of the ashes of The Beakers-probably the first Olympia WA band that made the town the musical gravitational force it has become today.  Other contributors to the early Olympia scene-and later contributors to the overall NW music scene- included DJ/editor/musician John Foster and the alarmingly underappreciated producer Steve Fisk. Both were early champions of the local scene, and had been students at The Evergreen State College just outside Olympia. TESC, as it’s often known was at the time a free-wheeling liberal arts college that pushed students to express their social and artistic endeavors to the maximum.

As well as Fisk and Foster, the college produced well-known graduates like Bruce Pavitt (Sub Pop) Matt Groening (The Simpsons) artist/cartoonist Lynda Barry (Ernie Pook’s Comeek, the illustrated novel The Good Times are Killing Me as well as the iconic image “Poodle with a Mohawk“). Later alum include Bill Hagerty (aka Macklemore of Ryan Lewis and Macklemore) and the pro-Palestinian advocate and martyr Rachel Corrie. A cadre of musicians, filmmakers, early video artists, writers, activists, idealists and excessively talented and motivated individuals emerged from the college. Many of them collaborate off and on up til this day.

The Beakers had had some great underground success based on the strength of only one single, the Bill Reiflin produced Red Towel b/w Football Season Is In Full Swing. Bill was the drummer for the near-mythic Seattle band, The Blackouts, and later worked with Ministry, Revolting Cocks, KMFDM, REM, Minus 5 as well as a myriad of other projects. He would also become a couple with-and marry Frankie Sundsten during the late 1980s. As of August, 2017 Bill is a member of the reconstituted King Crimson.

The Beakers label, Mr. Brown Records was a project of the Lost Music Network headed by the aforementioned DJ, chronicaller of underground music and founder of the influential OP magazine, John Foster A couple of inclusions (Figure 21 and I’m Crawling (on The Floor) appeard on Foster’s 1980 “Life Elsewhere EP and in 1981 The Beakers song What’s Important was incluced Pavitt’s Sub Pop 5 cassette release. A rather dull (for The Beakers) rendition of Lipps Inc. Funky Town is out there in the internet ether, but ultimately it doesn’t represent the sound of the motif of the band. The Beakers were angular, sometimes chaotic and sparse, with vocals by Mark H. Smith, drummer George Romansic, bassist Francesca (Frankie) Sundsten and the wildly manic saxophone of Jim Anderson who also shared vocals. This formula would transfer nicely when 3 Swimmers was founded. 3 Swimmers retained much of the angularity (especially in Smith’s vocals) but the sound was a bit more refined and not as purposefully caustic. Whereas The Beakers were shining lights among the underground, 3 Swimmers’ sound was more accessible to mainstream audiences, and the ever important college DJ’s who could break a band within weeks.

After a year of mostly success, touring and opening for major acts The Beakers called it quits. Each of the members would pursue projects of their own, but remain involved in one another’s projects. Frankie pursued her main love-painting, and became a member of Children of Kellogg along with Annie Mulcahey, a longtime fixture on the Seattle scene and experimental provacateur, Sue Anne Harkey who would later find success with one of her highly experimental ongoing groups, Audio Leter. Jim Anderson became involved in several music projects including Little Bears From Bangkok (with occassional drumming by Romansic. He also devotes himself to social justice and political causes. In 1981 George Romansic and Mark H. Smith would go on to be founding members of 3 Swmmers, eventually coelescing into Romansic on drums, Smith on Vocals, guitars and synths, Fred Chalenor on bass. Chalenor had worked with avant-garde artists like Wayne Horvitz, and after 3 Swimmers he co-founded The Tone Dogs with Amy Denio, and later included Soundgarden drummer Matt Cameron. The original 3 Swimmers line-up also included Colin McDonell of Cinema 90 and The Macs Band (alongside brother Angus). McConnell had been label-mates with The Beakers earlier at Mr. Brown Records. After 3 Swimmers recorded their first EP, The Worker Works To Live (1982, Engram Records) McDonnell departed the band to pursue solo projects and production. Shortly after McDonell bowing out MacKenzie Smith was brought on to play keyboards and take on some of the vocals. Taylor Nelson Little shared drumming duties with George Romansic, and Craig Florey, another Seattle stalwart joined as the groups saxophonist. Mark H. Smith recounts

“Taylor Nelson Little from Vancouver was just the best drummer we could find, we didn’t care that he lived in Canada. He and Fred really locked in together, which was critical because we were a groove-oriented band. We added Craig Florey on sax because he was irresistible”

A second EP-also on Engram-American Technology (also released by Engram Records in 1982) brought even more attention to the band and they ended up touring on their own and as opening acts for international headliners, most notably Gang of Four, with which they shared a socially conscious, perpendicular, jagged and jarring sound-and ideals…at least the sound and ideals found on Gang of Four’s first outing Entertainment. The sweeteners, back up singers and highly produced sound of later Gang of Four releases was not a direction 3 Swimmers would take.

We were young” says Smith. We wanted to do things differently. We wrote the songs together. Made business decisions together. It was very much a collective. And I think the pressure of trying to do what we were trying to do caused some strain”.

Still the band weathered it out until Fred Chalenor yearned for a different direction for the band. According to Smith;

“When Fred, who is a genius bass player, decided he wanted to put his energy into more experimental music, the band fell apart. From the very beginning he was the key component to the 3 Swimmers sound. He was irreplaceable”.

Somewhere out there another full EP of completed recording remains. Smith believes it’s the best thing 3 Swimers ever recorded. It remains unreleased and will probably never see the light of day. That’s unfortunate. Despite some criticism of the band being derivative (they weren’t) and Mark’s vocals as somewhere between “a hysterical David Byrne or an illiterate David”(they were) 3 Swimmers still stand out even among the stratospheric talent found among 80s Seattle bands. After the band’s demise MacKenzie Smith would go on to become Associate Director for Technology at MIT. She’s recently moved on to teach at UC Davis. George Romansic passed away on Sunday January 25, 2015, after a months-long battle with cancer.  He remained bright, generous and kind up ’til the end, and is still mourned by family, friends and just about anyone who ever met him.  He will continue to be remembered, honored and missed for many, many years. In a tribute to her friend, Patti Smith dedicated the song “Beautiful Boy” to George at a performance she gave in Seattle the night after George’s passing.

Mark H. Smith now is an assistant professor in the MFA program for Writing and Writing for the Performing Arts at UC Riverside, Palm Desert Graduate Center. He’s a regular contributor to journals and newspapers around the country and an accomplished novelist. His newest book, Blown, is due in the summer of 2018. He still remembers the importance 3 Swmmers made in his life and career. He says:

“For an indie band playing slightly annoying music from the northwest corner of the country, we came close to some kind of success. We supported some great bands like Gang of Four, Duran Duran, and Bow Wow Wow. We played Los Angeles with the Gang of Four, we had meetings at Warner Bros and IRS records. But listening to the songs now, I really wish someone had suggested I take singing lessons. I am a terrible singer”.

Despite their short run 3 Swimmers were not just “could have beens“. They played intricate, but enthusiastic music to live audiences. There recorded output almost perfectly captures their sound. And despite what Smith has to say about his voice, I for one am very happy he never took singing lessons.

 

-Dennis R. White. Sources; Mark H. Smith interview (August 20, 2017). Clark Humphrey (Loser. The Real Seattle Music Story. Updated and revised 2nd edition, MISCmedia, Seattle, 1999). Gillian G. Gaar: History and Revolution: Two Timely 80’s Acts Resurface. (The Stranger, November 4, 2004) markhaskellsmith.com retrieved August 25, 2017; Rocket writer, Champion of Local Music, George Romansic dies at 58 (Northwest Music Scene, January 27, 2015); Photo by Kristine Larsen. The Worker Works To Live design by Robert Newman.

 

THE FRANTICS
How a teen dance band became monsters of Psychedelic Rock

The story of The Frantics covers alot of NW music history.  It’s also a tale of two bands…at least.  The birth of what would become The Frantics goes back to 1955 when schoolmates Ron Petersen and Chuck Schoning formed a duo in 7th grade.  They initially named themselves The Hi-Fi’s.  Ron played guitar and Chuck playing accordian.  Soon Chuck was loaned a keyboard and the band would expand with new recruits Joel Goodman (drums), Dean Tonkins (bass), and Gary Gerke (piano). After paring this line-up down to Ron Petersen, Joel Goodman, Chuck Schoning and  Jim Manolides  the band would become known as The Four Frantics.  All members of The Four Frantics at this time were underage, so they hit the mighty teen dance circuit that was then at its height in the Northwest.  Later Bob Hosko would sit in as sax player so the band shortened its name to The Frantics. By 1958 the band had gone through a few more personnel changes, heralding in the first classic line-up of the band.  It was solidified with Ron Petersen (guitar), Joel Goodman (later, Don Fulton then,  Jon Keliehor) on drums, Chuck Schoning (keyboards), Bob Hosko (saxophone), and Jim Manolides (bass).  The band continued to play teen dances in the Puget Sound region, and by 1958 had become a local sensation.  They’d also attracted the attention of local label Dolton Records.

The Frantics sound was simple.  An incredibly tight rhythm section, highly proficient guitar playing and an up-front raunchy, R&B and Jazz influenced saxophone.   The result was both fun, danceable and a bit dangerous.  It was the sound of NW garage rock played with a little more finesse. The band was all-instrumental except for occassional appearances by locally in-demand vocalist Nancy Claire. Nancy made the rounds of the NW scene, both before and after her tenure with The Frantics, She played with the most iconic players of her era.  Nancy Claire had such a high profile in the 60s that she will be covered in her own future post.

By 1959 The Frantics were slated to record for Dolton Records with prominent engineer Joe Boles in the basement studio of his West Seattle home.  Boles was working with Dolton Records at the time and had done recordings and demos with soon-to-be-famous acts like The Fleetwoods, The Ventures and The Wailers. It was Boles himself that recorded The Ventures Walk Don’t Run and The Wailers Louie Louie, a song that became, and remains one of the seminal recording that would transform American Rock & Roll.  Although The Frantics were wildly popular in the Northwest, their recorded output stalled in the nether regions of the national charts.  Their three biggest national “hits” that made it into Billboard’s charts were Straight Flush that reached # 93 in the charts, Fog Cutter at #91 and their wildest outing Werewolf at #83.  Their last charting success had been slated for a Hallowe’en release in 1959 , but because of delays wouldn’t be released until January of 1960.  By that time it had lost it’s luster and missed the Halloween market it was intended for.




In 2012 a You Tube poster under the name “mroldies1″ (possibly Jim Manolides?) commented: ”I played bass in The Frantics. the original release (of Werewolf) had on the flip side a rocker called Checkerboard. When the payola scandal hit right as this record reached #53 (sic) with a bullet in its second week on the charts, the wolf howls were eliminated and ‘No Werewolf’ was on the b side of the re-release. the poem at the beginning is the voice of Bob Reisdorff (co owner of Dolton Records) the wolf howls are Kearney Barton, and the scream at the end is Bonnie Guitar (Dolton’s other co-owner) and there you have the truth.

The Frantics (like label-mates The Ventures)  interpreted the popular tunes of the day, but wrote most of their own material.  They also were not afraid to release what might be termed novelty records.  Certainly tracks like Werewolf (with it’s spooky-sounding intro and howls) and The Whip (which featured noted bull whip performer Monty Whiplash) had a schtick-like quality, but the music itself went way beyond gimmicks.

One of their biggest successes up to that point came on the night of February 22nd 1959 when the band were chosen as Bobby Darin’s back-up band at Parkers Ballroom in north Seattle.  Solo artists commonly travelled without a band in those days, and relied on advance men to choose musicians to play behind them in each city.   Darin was impressed enough with The Frantics that he asked them to back him on some recordings at Joe Bole’s studio the next day.  The band weren’t sure if Darin was serious, but quick arrangements were made to book the studio for the next morning, and as promised, Darin showed up with charts and lyrics for two songs he’d recently written: Dream Lover and Bullmoose.  After a successful, amiable session Darin and the band parted ways.  It was several months later that band members found out that Darin had taken the recordings to his label Atco.

The label loved the songs, but demanded they be re-recorded in NYC using professional studio musicians.  The recording of Dream Lover and Bullmoose were produced by the famed Ahmet Ertegun and Jerry Wexler, but it was clear much of the songs’ arrangements were based on The Frantics original recordings with Darin.  This is especially apparent in Darin’s new recording of Bullmoose. Fortunately the band and Boles had been paid for their time, and they laughed off the incident.  This kind of thing was common in the early days of pop music. Dream Lover became one of Darin’s signature tunes as well as a multi-million seller, reaching #2 on the U.S. pop charts for a week and #4 on the R&B charts. In 1994 Darin’s son Dodd wrote that the song was a musical love letter to Dodd’s mother and Darin’s wife, Sandra Dee. The Frantics had missed out on a chance for widespread national recognition with Darin, but little did they know that some of the band’s members would later go on to make a more lasting mark.

https://youtu.be/axOrB2zuyPs

The Frantics remained a popular draw throughout the Pacific Northwest, British Columbia and up and down the US West Coast.  Around this time Manolides left the group and was replaced by Jeno Landis.  When the Seattle World’s Fair opened in 1962 the band were in the midst of a residency at Dave Levy’s’s club on  5th Avenue near the site of the fair  They had all come of age and often played at local clubs and taverns.  Throngs of Fair attenders flocked to Dave’s 5th Ave. to hear the band and The Frantics wrote and recorded the World’s Fair themed Meet Me In Seattle Twist and The Gayway Twist. The single went nowhere in the charts, but it made for a good souvenir from the World’s Fair.  Collectors still search for mint copies of the flexi-disc.

Later that year musical differences between Chuck Schoning and Ron Petersen caused the band’s line-up to dissolve and then rise as two separate outfits. Schoning’s  Frantics had left their teen image behind them and become a serious R&B influenced rock outfit.  As more recordings were released by The Frantics.  Petersen chose to re-christen his band as Ron Petersen and The Accents.  His band later released one single (“Sticky” b/w“Linda Lou) on another of Seattle’s formidable ‘60s labels. Jerden Records. Meanwhile Schoner’s Frantics no longer took jobs in establishments geared to the teen crowd and hung out and jammed with serious Seattle legends like Little Bill Englehart, Dave Lewis, Mark Doubleday, Larry Coryell, Sarge West, Dicky Enfield, and Don Stevenson

From 1964 and onward The Frantics spent more and more time on the road and along with it came more personnel changes.  One change involved adding Jerry Miller, a guitarist from Tacoma.  After drummer Jon Keliehor was seriously injured in an automobile wreck (on his way to gigs in California) the band had to bring in Don Stevensen-an old friend from Seattle-to replace him. Various other members came and went and  during a series of local gigs in California’s Bay Area.  In the mid 60s the band was convinced to re-locate to the San Francisco area by a four-fingered guitarist playing in a band called The Warlocks.  The guitarist later went on to become a founding member of The Grateful Dead, Jerry Garcia.

The Frantics became more and more influenced by the brewing San Francisco Sound, and were surrounded by the growing movement that was burgeoning in the Bay Area.  They even began to dabble in psychedelia  by recording a single featuring the songs Human Monkey b/w Someday,  It was released by San Mateo based label, Action. It’s the only release by The Frantics not originally released on Dolton Records.

The band’s movement away from the traditional Frantics sound and toward the hippie-flower power, tie-dyed direction was causing another rift in the band, so by 1966 the band continued to change personnel  Bob Mosely, a former San Diego bassist was added. Hosko threw in the towel and went back to Seattle. Chuck Schoning was dismissed.  For a short time the band chose to work under the name Luminous Marsh Gas, but didn’t attract much of a following.

Shortly after the Frantics move to psychedelia, they were introduced to Skip Spence, the original drummer for Jefferson Airplane.  He’d also been an early member of Quicksilver Messenger Service, and played guitar in The Other Side.  Marty Balin was a fan of The Other Side and introduced Spence to  theJefferson Airplane as a potential member.  Spence played drums on the Jefferson Airplane debut album Jefferson Airplane Takes Off  but was kicked out of the band and replaced by Spencer Dryden even before the album was released.  Matthew Katz, the Airplane’s manager was also let go.  He was just beginning to become one of the most unscrupulous characters to come out of San Francisco’s psychedelic scene. Spence and Matthew Katz had been joined forces and were searching for players for a new project. Peter Lewis-son of actress Loretta Young-had already signed on.

Spence and Katz had their eyes on The Frantics guitarist Jerry Miller and drummer Don Stevenson along with Bob Mosely, who had joined The Frantics shortly after their relocation to the Bay Area. All three of the Frantics agreed to join Lewis and Spence and it’s at this point The Frantics essentially morphed into one of the most important bands in rock history, Moby Grape. The name was supposedly thought up by Bob Mosley and Skip Spence, coming from the punch line of the somewhat corny riddle “What’s purple and swims?”

Shortly after forming the new line-up as Moby Grape the band decided that writing and singing was to be shared by all members, and the band would essentially allow all three guitarists (Spence, Miller and Lewis) to play leads with Mosely on bass and Stevenson as drummer. Soon Moby Grape was picked-up by Columbia Records and the began recording their first album.  Critical and popular success came quickly as the band was constantly gigging.  Their debut eponymous record is now regarded as one of the masterpieces of the psychedelic era and is regularly listed as one of the greatest recorded albums of all time.  The highlight of the record may be the Skip Spence-penned Omaha.  It’s a song that became a leading light of the San Francisco sound and regularly heard on radio stations around the world since it’s release.  It’s a perennial favorite of critics and fans alike.  In 2008 Rolling Stone’s Robert Christgau described the song as Moby Grape’s best single.  He went on to add:

“Jerry Miller, Peter Lewis and Skip Spence compete in a three-way guitar battle for two and a quarter red-hot minutes, each of them charging at Spence’s song from different angles, no one yielding to anyone else.”

https://youtu.be/xqg3KEwDhvM

Unfortunately Moby Grape would be dogged by problems from the very beginning. They had to endure poor management, contracts, their label, their producer and worst of all, addiction and mental illness.  In Jeff Tamarkan’s book Got a Revolution!: The Turbulent Flight of Jefferson Airplane he laments Moby Grape by writing:

“The Grape’s saga is one of squandered potential, absurdly misguided decisions, bad luck, blunders and excruciating heartbreak, all set to the tune of some of the greatest rock and roll ever to emerge from San Francisco. Moby Grape could have had it all, but they ended up with nothing, and less.”

Both Spence and Mosely were victims of mental illness and drug addiction. Spence was notorious for his outrageous and often inappropriate behavior.  It’s what had earlier led to his firing by Jefferson Airplane.  Many times his actions devolved into violence.  Finally in 1968 Spence went over the edge during an LSD-fueled lapse into schizophrenia. He tried to chop down Don Stevenson’s door at The Apex Hotel in New York City.  His intent, he said was “to save him from himself” by killing Stevenson.  Spence had to be hospitalized for six months in Bellevue Hospital after this event. Even though his action had led to his dismissal from Moby Grape, Spence was often assisted by his former band mates during the course of his life.

An incident that shows the band’s failed management came when Moby Grape were slated to play one of the first outdoor rock festivals ever, the Monterey Pop Festival. Because of managerial disputes, Moby Grape was not included in the D.A. Pennebaker-produced film of the event, Monterey Pop. Footage of their performance remained unreleased until 2007 when it was included as part of the 40th anniversary celebration of the Pennebaker’s groundbreaking documentary. According to Peter Lewis, when questioned about their not appearing in the movie, he recalled:

“Katz (their manager)  told Lou Adler (the festival’s organizer and promoter) they had to pay us a million bucks to film us at the Monterey Pop Festival. So instead of putting us on Saturday night right before Otis Redding, they wound up putting us on at sunset on Friday when there was nobody in the place.”

Obviously Adler was not amused by Katz’s demand

Soon after, another blow to the band occurred when in 1969 Mosely inexplicably quit the band to join the Marines.  He was discharged a few months later and eventually ended up homeless, despite offers of help from his fellow bandmates.  He had become embittered by a long dispute concerning the band’s ownership of their songs and, poor management and promotion and a dispute with their producer David Rubinson.  The entire tragedy was caused by Katz making a settlement with Rubinson by Mosely that the band never knew about at the time.  Mosely ended up living with addiction and mental illness on the streets for several years.

When Moby Grape was dismantled in 1971 the former Frantics members Jerry Miller and Don Stevenson joined up with John Barrett and John “Fuzzy” Oxendine to form The Rhythm Dukes. Don Stevenson played guitar, while Oxendine played drums.  Stevenson preferred to play drums as he had in The Frantics and Moby Grape so he left the band shortly after it was formed.  Upon Stevenson’s departure keyboardist Bill Champlin (formerly of The Sons of Champlin) signed on with the band.  After The Rhythm Dukes disbanded Champlin embarked on a solo career and later became a member of the hugely popular band Chicago.

After a career with such potential Moby Grape dissolved and were left with legal problems, failure to be paid their royalties and a history of bad promotional moves by their label.  They also had contractual obligations with Columbia Records dogging them and ongoing problems of who actually owned the name Moby Grape. That litigation would go on for decades.  In total Moby Grape had released six albums and received adulation by a wide audience for their live shows and recorded output.  Their debut album still remains a shining document of the era.  Every one of their albums have been re-released as full albums and as compilations.  There’s no doubt Moby Grape still have a huge fan base.  But they gained nothing but headaches and heartaches for their efforts.

In 1983 original members of Moby Grape, Lewis, Miller, Mosley, and Stevenson re-united and held a concert that was recorded and released as Moby Grape: 1984. The band attempted on several occasions to reunite Moby Grape with a series of new members.  Their attempts would not be realized until at least a decade later, with all but two original members-both of them original members of The Frantics, Jerry Miller and Don Stevenson.

In 1987 the band was re-united again, with the full original line-up of Moby Grape, along with It’s a Beautiful Day, Fraternity of Man, and The Strawberry Alarm Clock, for a couple of shows and also took part in a celebration of the 40th anniversary of The Summer of Love in San Francisco’s Golden Gate Park.

In the ensuing decades Miller and Stevenson have spent time spreading the gospel of The Frantics, as well as resting on their laurels as members of Moby Grape.  They have re-popularized a band that may have only been a footnote in music history without them.  In a very real way, Moby Grape would not have existed if it was not for their earlier work. In 1985 The Frantics took part in a reunion at the Seattle Center.   The concert was held in celebration of the 25th anniversary of the Seattle World’s Fair.   .

Here is a partial list of the aftermath of those who were associated with The Frantics and Moby Grape. It is by no means comprehensive and comments and corrections are welcome.

Jerry Miller has played alongside some of the greats of rock.  Robert Plant has pointed to Miller as a major influence for Led Zeppelin and Eric Clapton once called Miller “the best guitar player in the world”. Rolling Stone magazine listed him at #68 as one of the ”100 Greatest Guitarists Of All Time”.  Miller spends most of his time in Tacoma nowadays and gigs locally.  He makes the occasional forays into the outside music world as a member of the re-constituted Moby Grape. In 2009 Miller took the place of Sky Saxon of The Seeds during the California 66 tour soon after Saxon’s death and in 2010 played a gig during that years SXSW music festival.

Don Stevenson returned to the NW and become successful in real estate. He currently resides in Whistler BC Canada.  Stevenson also appeared with Moby Grape at the 40th anniversary San Francisco Summer of Love concert in Golden Gate Park. . In 2010, Stevenson performed with Jerry Miller and Omar Spence (son of Skip Spence) at SXSW in Austn.  That same year he released his first solo album, King of The Fools.  He is planning a second solo album and in the process of raising funds to release it through crowdsourcing.  If you’d like to help go to www.gofundme.com/rjxswe-fund-my-grandpa

Bob Hosko went on to become a founding member of Jr. Cadillac but left after 1972. Seattle historian Paul Dorpat remarked in a post in 2008 that “Hosko died years ago”

Jon Keliehor returned to Seattle, recuperated from his auto accident and went on to be a founding member of The Daily Flash.  Later he moved to the UK and now produces and records under his own name and leads music workshops in Glasgow, Scotland. His musical interests have evolved into exploration of esoteric, experimental and world music.  According to his website his credits include music for the dance Class, The London Contemporary Dance Theatre, and for Troy Game, presented by the Royal Ballet. He is director of  Dreamhouse, World Music Village in London and a co-composer of 1984 recording East Meets West (BRR18).  The music Celestial Nile initiated collaborative works for Venezuelan dancers and company, Danzahoy, and resulted in the development of his current catalogue of recordings. He recorded and co-composed Trance Gong for Gamelan Pacifica in Seattle, and has worked with Gamelan Naga Mas in Glasgow, Scotland where he now lives.

.Chuck Schoning  Joined Quicksilver Messenger and later recorded multiple albums under the name Chuck “Steaks” Schoning.  He played on Southern Comfort’s 1970  “Who Knows” (Columbia Records) and Todd Rundgren’s 1972 breakthrough album Something/Anything (Bearsville Records) During his later years Chuck became organist for the Trinity Community Church in San Rafael CA and for Senior Access in San Anselmo. He died in San Rafael on March 3rd 2001

Jim Manolides became a well-loved music and art curator in Seattle and Ocean Shores WA.  He bartended at Parnell’s jazz club in Seattle during the ’70s and ’80s, where he became the clubs’ most popular, most gregarious barman.  Later he spent time behind the counter at Nickel Cigar, on Yesler Way.  The space had earlier been The Manolides Gallery, an establishment Jim had opened in the early 1970’s. The last 13 years of his life he lived in Ocean Shores WA, where he died from a strok in May of 2016.

Joel Goodman is an Emmy Award-winning composer.  According to his website Joel “creates music for narrative feature films, documentaries, television, album releases and other forms of collaborative media. Joel has scored over 125 films and television programs that have received 5 Oscar nominations, 20 Emmy awards and over 30 Emmy nominations. He has scored over 40 films for HBO and composed the Main Theme for the long-running and critically acclaimed PBS series American Experience. His scores can regularly be heard in movie theaters and on television around the world”.

Bob Mosely suffered from schizophrenia and ended up living on the streets until former Moby Grape members got him back to work and able to support himself. Despite his circumstances Mosely was able to continue writing and recording. He has released five solo albums since his time in Moby Grape. His most recent solo release is True Blue released on the Taxim label in 2005.

Skip Spence died of lung cancer on April 16 , 1999 just days short of his 53rd birthday. After his dismissal from Moby Grape Spence spent much of his life institutionalized due to his schizophrenia and the ravages of years of addiction to heroin, cocaine and alcohol.  Soon after his release from NYC’s Bellevue Hospital in 1968 he managed to record the album Oar in Nashville.  Many critics and fans consider Oar to be one of the most painful, confused and harrowing albums of all time.  Multiple celebrations of his life were held immediately after Spence’s death, and every once in a while another event is celebrated to highlight his brilliant contribution to psychedelic rock.   In 1999 shortly after Spence’s death a tribute album was released. More Oar: A Tribute To The Skip Spence Album, The collection had contributions from Seattle-related musicians Mark Lanegan, Mudhoney and Minus 5 (a band formed by Young Fresh Fellows’ Scott McCaughey that includes a revolving cast including Barrett Martin, Jenny Conlee, Peter Buck, John Ramburg, Linda Pitmon, Jon Auer, Bill Reiflin, Ken Stringfellow, Kurt Bloch, Mike McCready, Jeff Tweedy, Chris Belew, Anna Shelton and Mike Mills among others in the constantly changing line-up that are all attached to the Seattle music scene…either directly or tangentially.

Peter Lewis is still writing and performing as a member of the presently  re-constituted Moby Grape and the reformed Electric Prunes,

 

Any updates or corrections are welcome

 

-Dennis R. White. Sources; “The Frantics: Seattle’s Top Teenage ‘50s Band” by Peter Blecha, “NW Music Archives” (1984); “Got a Revolution!: The Turbulent Flight of Jefferson Airplane” by Jeff Tamarkan (Atria, 2003); “Dolton Album Discography” by David Edwards and Mike Callahan (bnspubs.com, November 2005); “Moby Grape Just Can’t Catch A Break” (NPR.com, December 21, 2007); “The Frantics” by Joel Goodman (PNW Bands, October 2003); “The Frantics” by Jon Keliehor (PNW Bands,December 2007 & April 2009). “The Frantics-Complete Recordings on Dolton” (Collectors Choice Music, 2004); “40 Essential Albums of 1967” by Robert Christgau and David Fricke (Rolling Stone July 12, 2007):“Jimmy Manolides, a Seattle musician and art curator, dies at 76” by Paul de Barros  (SeattleTimes, May 12th, 2016) “Moby Grape” Wikipedia entry, 26 June 2017, fact-checked by Dennis R. White, August 14th 2017); Jerry Miller official website (jerrymillerband.com); “Welcome to the Bob Mosley Website!” Bob Mosely official website (bobmosley.com); “The Frantics – Human Monkey” by theblog11(Psychotic Reactions and Carburetor Dung, January 25th, 2014); You Tube comment by mroldies1, (You Tube 2012); Jon Keilihor, (personal website at jonkeliehor.com); Joel Goodman (personal website at joelgoodman.com); discogs.com; photograph copyright Liberty Records.

BONNIE GUITAR

On March 25, 1923 Bonnie Buckingham was born in Seattle WA.  As a youn child she was raised in Redondo Beach,  a small community about 30 miles south of Seattle.  Her family were farmers who were able to weather the depression, unlike many of those in the Midwest who’s crops had been decimated by dustbowl storms and drought.  It was a bit later that the Buckingham family moved a short distance to Auburn WA and continued farming.  Growing up Bonnie had a fascination with the family guitar, and took every chance she could to take it from it’s hiding place to practice when her parents were away.  Her mother had told her that “guitars were for boys”.  But Bonnie persisted learning what she could. She recalls regularly climbing trees and pretending they were broadcast towers and she was sending out signals of her miusic  to the entire world.

Apparently her parent’s disapproval of girl’s playing guitars did not last long. By the age of 13 she had inherited her two older brothers’ flat top guitar and was appearing at talent shows throughout the Puget Sound region while gaining wider reception. During this period she took on her first stage name-Bonnie Lane.  She also began tutoring by local musicians.  At the age 16 she was allowed to tour the NW with a country revue and for the next several years she developed her skill at the guitar as well as finding her voice.

Eventually she began travelling to Seattle to be tutored by some of the best players in the city, including Paul Tutmarc. Not only did Bonnie receive lessons, she began to make recordings with Tutmarc in his primitive studio on Pine Street.  Tutmarc was 27 years older than Bonnie, but their work had brought them close together.  In 1943 Tutmarc divorced his first wife and married Bonnie the following year.  They juggled their married and professional lives, along with caring for their daughter Paula (born in 1950) for the next few years, doing Seattle gigs as a duo and finally joining a well-known NW country outfit called the K-6 Wranglers as with a local country outfit called but the couple divorced in 1955, before Bonnie’s wider success.

Around this time Bonnie took on the name she would always be known as- Bonnie Guitar. Bonnie recalls that one day a songwriter approached her with a few songs he wanted her to do demo’s of in order to shop them to labels in southern California. The songs themselves never went anywhere, but an independent producer, Fabor Robison heard Bonnie’s voice and her by now exceptional playing.  He immediately called her and convinced her to come to LA and work with his team.  Robison was well-connected in the growing country music scene.  He’d been involved in the early careers of Jim Reeves, Johnny Horton, the Browns, Mitchell Torok, Floyd Cramer along with Johnny and Dorsey Burnette.  His original label, Abbott Records had been a success starting in 1951 Robison established Abbott Records with the financial backing of pharmacist Sid Abbott and the major goal was to record Johnny Horton who Robison had discovered in Texas.  In fact all ten of Abbott Records first releases featured Johnny Horton. However, distribution problems led Robison to sell Horton’s contract to Mercury in mid-1952.  Even so, Fabor Robison’s Abbott and Fabor labels would find a good deal of success with later artists.




By early 1957 Robison had been trying to produce a new composition written by another of his studio players, Ned Miller. Despite take after take with Dorsey Burnette he was dissatisfied with the outcome. In his book Seattle Before Rock: A City and It’s Music author Kurt Armbruster recounts Bonnies tale:

I had been working in Seattle, and a woman asked me to demo seven or eight songs she’d written. I recorded them, and she sent the disc to Fabor Robison, a producer in L.A.  Fabor called ‘How soon can you get down here?’ I flew down and he hired me as a staff musician in his studio in Malibu Canyon. I played on and helped produce every hit record he had.  One day Fabor said ‘I have a new song that I’m recording with Dorsey Burnette (brother of Johnny Burnette).  I want you to hear it’.  Dorsey had had a big hit and was on his way up the charts.  Well, Fabor played me this song, Dark Moon and I was knocked out.  I had to have it!  I’ll forego all my royalties to record this song.  It’s going to be a smash!  So I recorded it and sure enough it hit big.  But what I didn’t know was that Fabor had already recorded the song with Dorsey and didn’t like the result.  He didn’t bother telling me that”.

Bonnie, was so taken by the song she convinced Fabor to allow her to record it, and hopefully release it as a single.  In exchange she told Fabor she was willing to forego all of the royalties that would be due her just to have a chance at the opportunity.  This was not a smart business deal, but it taught Bonnie lessons she would later be grateful for, and most of all it provided Bonnie with her first huge hit in 1957.  The song would become her signature song, and in it’s  has been covered by everyone form Elvis Presely to Chet Atkins & Hank Snow to Chris Issacs and beyond.
Bonnie had done what she calls “hundred of takes” on the song, accompanied by a backing band and larger production than the final version.  It is this spare, haunting, ethereal and shimmering.  Bonnie told the story in a later interview

Fabor recorded me on Dark Moon with as many as twelve musicians; we must have done it a hundred times, with different combinations, and still he wasn’t satisfied. Then one night Fabor and Ned Miller and I went into the studio to record it as a quartet.  I asked Ned to play just a straight rhythm on acoustic guitar, I played lead, and we had a bass.  That simple version was the one we ended up releasing’.

At the time Bonnie recorded “Dark Moon” Fabor was in search of a larger label to sell his company to, and found a taker in Dot Records who had the muscle and distribution to make Dark Moon a crossover hit on billboard magazne’s charts reaching # 14 on the country charts, and an amazing #6 on the popular chart.

At the height to Bonnie’s position in the charts another Dot artist

, Gale Storm (of My Little Margie fame) also recorded a version of Dark Moon. Storm’s version also raced up the charts and caused some confusion among the public.  But there’s no doubt that Bonnie’s rendition was far superior.  It was haunting and Bonnie’s crystal voice wasn’t muddied by the highly arranged and over-produced Gale Storm version.  Although this would be the last hit record for Gale her producer Randy Wood chose to present a version that was akin to what Pat Boone had done with early rock and roll hits.

Even though Gale Storms’ version charted slightly higher than Bonnie’s, at #4 in the charts, it is Bonnie Guitar’s version that is clealy the definitive recording.  Unfortunately Bonnie’s follow-up single Mr. Fire Eyes did well on the country charts but failed to make much of a dent on the pop charts.  The single only reached the #71 spot on Billboard’s pop chart.  Subsequently she was dropped from Dot Records.  In the future Bonnie Guitar would continue to record albums, release singles, play as a session musician and produce even though she chose to move back to the Seattle area.  She had a clear and dedicated base that weren’t interested in letting her go, despite her treatment by Dot Records.  In fact, Bonnie would later be picked up by several major labels into the 1980. But for the time being Bonnie turned her eye to found her own record label and produce other’s records.  In 1958 she paired up with former Seattle refrigerator salesman Bob Reisdorff to form Dolphin Records.  Soon after the labels founding Bonnie and Bob discovered there was already a label and record store using the Dolphin name.  The label (and store) was owned by John Dolphin a prominent black producer who had had great success in what were then called “race records”- R&B. Jazz and early Rock and Roll primarily aimed at black fans and among white teens and DJs that were more progressive.  Bonnie and Bob changed the name of their label to Dolton Records but before they made the change Bonnie came across a vocal group from Olympia WA   The group consisted of Gary Troxel, Gretchen Christopher, and Barbara Ellis .With Bonnie as producer and Reisdorff mainly in charge of finances the label had a hit straight out of the box with three vocalists from who went by the name The Fleetwoods . Come Softly With Me was a song the trio had written and it became an international sensation that was soon covered-and remains covered-by a multitude of American and British artists.  The attention of the first Dolphin/Dolton single led to a distribution deal with Liberty Records which lasted until Dolton merged with Liberty Records in 1966.  The Fleetwoods second hit (their third outing) with the newly-christened Dolton label was Mr. Blue. It quickly topped Billboard’s pop charts.  Later artists that found success with Dolton were Vic Dana who was a solo artist that had also taken on vocals for live gigs when Gary Troxell was drafted into the military. Other groups that would get their first taste of success at Dolton were Seattle’s The Frantics, and a little combo from Tacoma WA named The Ventures. The Ventures were dubbed “The Band that Launched a Thousand Bands” and ended up releasing 12 projects with Dolton.  Today The Ventures are considered seminal founders of what is considered modern Rock&Roll.

Bonnie herself released a few projects of her own on Dolton, the most intriguing being a song called Candy Apple Red, a self-penned song that she used to show off the virtues of her favorite car that she’d bought in 1956; a candy apple red Ford Fairlane 500 Skyliner hardtop convertible.  It was a first production model with a retractable top. Bonnie bought it in 1956 and had it personalized with red guitars stitched into its white leather seats and musical notes that were fashioned into its hubcaps by hotrod hotshot Dee Wescott.  She still owns it.

Although Bonnie had been a co-founder of Dolton Records, there had been friction between herself and co-owner Bob Reisdorff, so in 1960 she left Dolton with another ex-employee, Jerry Denon to found Seattle-based Jerden Records.  Unfortunately Jerden only lasted for about a year, and both Bonnie and Dennon returned to Los Angeles.  Bonnie became a recording artist for Columbia and RCA records, and later returned to Dot Records, who had unceremoniously fired her only a few years before.  Eventually Bonnie ended up being a vice-president at Dot.

Dennon worked in promotions until he was drafted into the army.  Upon leaving the army Dennon revived the Jerden label as sole owner and re-released the entire Jerden catalogue-which featured several of Bonnie’s own recordings and others she had produced.  This second iteration of Jerden Records was far more successful than the first.  In 1963 Jerden released the single Louie Louie by The Kingsmen– a song which has become a high water mark in rock and roll history…and for better or worse on January 24th,  1986 Louie Louie was named the official song  of Washington State.

Bonnie churned out recording after recording during the 1960s and although most were only minor pop hits she continued to have a strong country music fan base and gained more and more respect from both the pop and the country music establishment.  By 1968 she had become one of the all-time biggest country solo artists in history. Later Bonnie released the successful country music hit I’m Living in Two Worlds which became Guitar’s first Top 10 Country hit and she released an even bigger country hit in 1967 with A Woman in Love which peaked at #4 on the Billboard charts. That same year, Bonnie won the Academy of Country Music’s “Top Female Vocalist” award. In 1968, she recorded another Top 10 Country hit I Believe in Love.  And finally she teamed up with Buddy Killen in 1969 to put out A Truer Love You’ll Never Find (Than Mine).  By that time Bonnie’s recording career had pretty much run it’s course, though she continued producing and became more and more involved with the business side of music, working as a talent scout, producer and an A&R representative…all positions she had previously involved herself in and was known for being very sharp at.

In 1969 Bonnie married Mario DiPiano and moved back to Washington State-Orting WA to be precise.  She and her husband spent their time raising quarter horses, but the pull of Hollywood and Nashville was too great.  She continued recording throughout the 1970s.  After DiPiano died in 1983 Bonnie went into seclusion.  A couple of years after Di Piano’s death -the man she called the love of my life-Bonnie received an invitation to perform one show at the Businessmen’s Club of the Notaras Lodge in the desert town of Soap Lake WA.  That single performance led to a residency that lasted until 1996!  Today Bonnie lives in Soap Lake and still tries to do a gig here and there.  She is somewhat active on face book and is happy to share memories and update daily occurances as health permits.

It’s hard to say if Bonnie Guitar was the first female session musician, but she’s the earliest we know of.  She’s certainly the first female artist to crossover from the Country charts to the Pop charts, and it’s near-certain that she was the first woman allowed to take on the task of music studio production.  Again, we simply don’t know of any woman that had previously done that job.  The world owes a great debt of gratitude to Bonnie Guitar, even though her accomplishments may seem over-shadowed today.  But she is surely one of the all-time greats in American recorded music and in the business of creating hits.

On March 23rd 2917 Bonnie Guitar turned 94 years old.  Her latest face book post (July 17, 2017) says:

It has been a little while but I have been working on getting stronger and ready to play some music for you all ! With kindest regards.
BG

-Dennis R. White. Sources:  The Herstory of Women in Rock N’ Roll, Vol 1. By Tia (Vashtia.com, March 15, 2017; Guitar, Bonnie (b. 1923) The Northwest’s Trail-Blazing Pop Pioneer, by Peter Blecha, (Posted 6/19/2008 HistoryLink.org Essay 8656); Womans Work-Bonnie Guitar, by Linda Ray, (No Depression, December 31, 2006); At Age 93, Northwest Music Legend ‘Bonnie Guitar’ Still Gigs Every Weekend by Gabriel Spitzer (KXPX.org, Nov 26, 2011);  Before Seattle Rocked: A City and Its Music, by Kurt E Armbruster (University of Washington Press 2011)