JOHN COPPOCK's HAWAIIAN BAND: 1927

THE TINY TOWN of Peshastin, Washington, was the base for a homegrown Hawaiian music group formed by guitarist John Coppock & his high-school pals around 1919. The positive reception they got after playing a few gigs there & in nearby burgs like Leavenworth and Wenatchee encouraged him enough to head off to Hollywood in 1923. It was there that he (seen here, 2nd from left) formed a new quartet and began climbing the ladder to stardom.

By 1924 Coppock's Hawaiians had added one genuine Hawaiian musician -- the ukulele ace, Dave Mahuka -- and soon scored their own weekly radio show. In 1925 the band cut a 78rpm disc for one of the West Coast's very first labels, Sunset Records, & they became one of the top acts of their type on the So-Cal scene. Throughout the summer & fall seasons of 1927 they toured through various states, including a swing up the coast & right back into Coppock's old stomping grounds.

On the evening of Friday October 28, 1927 Coppock and his crew -- which included his own brother Paul on vocals -- made a triumphant return to the old hometown for a performance at the Peshastin School Auditorium.

This rare old poster shows the local pride at having a couple of their own boys -- "Coppock's Famous Radio and Recording Trio" -- back for a visit: even the Peshastin Symphony Orchestra (!) lent a hand that night. And, as a special treat, the Coppock brothers entertained one & all with a few numbers played on their musical handsaws.

THE DAWN of GRUNGE ROCK: 1988

SEATTLE's BOXING CLUB (1011 E Pike Street) was the unusual site for a rock 'n' roll rumble of a gig on the broiling hot evening of Friday July 8, 1988. A cramped, shabby, old-school tough-guy gym, the Club hosted three local bands who each cut loose with howling sets before a sweaty, packed-in, all-ages crowd. I know – because I was there.

The event was billed as a "Psycho Delic Disco Orgy" – probably because the phrase "grunge rock" was barely a concept at that early date. And, as this handbill noted: the gig was also a record release party held to celebrate new releases by three first generation grunge bands – each of whom (Blood Circus, Swallow, & Mudhoney) were fresh signees to the now-legendary Sub Pop label.

Blood Circus' "Two Way Street"/ "Six Foot Under" (SP13), & Swallow's "Trapped"/"Guts" (SP14) singles had been released dauys prior in June, while Mudhoney's classic "Touch Me I'm Sick"/"Sweet Young Thing (Ain't Sweet No More)" ( SP18) wasn't actually made available until August.

Interestingly, during this time period it was Blood Circus who were the better-established band – indeed, both Mudhoney & Nirvana performed their first-ever shows at Seattle's fabled Vogue club opening for them. Months later, in November, Nirvana's debut 45 -- "Love Buzz"/"Big Cheese" (SP23) – was issued. The rest is history...

AIRPLANE DANCE in KELSO: 1930

TEX HOWARD's BAND played something billed as an "Airplane Dance" at the Glide Hall in South Kelso, Washington, in 1930. That venue served that town in two distinct ways: as place for roller-skaters to glide around the hardwood floor – & then as a dancehall in the evenings.

Howard had been musically active for some time prior to this event. On December 24, 1926 Spokane's Spokesman-Review ran an ad for the Davenport Hotel which invited people to attend a Christmas Day dinner that would feature Howard & his 10-piece "all-artist" orchestra. On February 24, 1927, the place touted "Musicale Luncheons" which featured Howard & his Davenport Hotel Orchestra.

By 1931 Tex Howard & his Tigers took on a year-long stint at Seattle's Trianon Ballroom (2nd Avenue & Wall Street) and Musicland magazine noted gushed how "They are one of the finest home-town groups...It's difficult to keep the crowds still during the intermission. So enticing and dance-provoking is the music, that the dancers hate to see the orchestra pause for even a moment."

















In '34 Howard's orchestra gigged on KFOX radio in Long Beach, California. Then on February 9, 1935 the band – which included his brother Wyatt Howard on vocals – cut "Let's Honeymoon Again" for Decca Records. Two days later, they cut three more songs ("Put On An Old Pair Of Shoes," "Love Dropped In For Tea," & "Somebody's Birthday"). The result was a pair of 78 rpm singles.

Soon Howard's band was back at the Trianon, which is where the UW's Junior Prom was held on March 5, 1936. The Tyee yearbook noted the oh-so-clever maritime theme of the dance: "When the S. S. Junior Prom cleared Seattle docks from the Trianon Ballroom, on its 'Transatlantic Journey'...450 couples were aboard. It was a grand voyage with none of the inconveniences of passports, luggage or mal de mer. Stars twinkled down upon coeds in filmy formals and their escorts in conventional black and white as they danced on the spacious 'deck.' Red and green lights marked the port and starboard sides of the big liner and life preservers and pillars disguised as masts added to the naval theme. The twelve-piece ship's orchestra, conducted by Tex Howard, was enthroned in the stern while the hall's balcony became a pilot house. Nattily uniformed ship's employees worked in the baggage (check) room...".

By the 1940's brother Wyatt had split off & formed his own orchestra which: featured the vocalist "Carol Ross" (aka Jeanne Tutmarc, sister to Seattle musician, Paul Tutmarc); was based out of the Town & Country Club (1421 8th Avenue); & recorded for Linden Records.

Meanwhile in 1948, Kelso's country bandleader, Roger Crandall, bought the old Glide Hall & his Barn Dance Boys performed there many a Saturday night. As the 1950s rolled around numerous national Country stars played the hall including Tommy Duncan, Ray Price, Tex Ritter, & the Maddox Brothers & Sister Rose. In addition, a few of the Northwest's up-&-comers such as Yakima's Tex Mitchell, Tacoma's Buck Owens, & Salem's Snead Family performed there. Then, when rock 'n' roll broke out, touring rockabilly stars like Buddy Knox drew a teenaged crowd, as did one of Oregon's very first rock bands, the Teen Kings.

JACK RIVERS' RAREST NW DISC: 1952

ONE KEY MUSICIAN on the 1950's Sea-Tac country scene was guitar ace, Rivers "Jack Rivers" Lewis – the brother of famed hillbilly bandleader (the Lone Star Cowboys) and western film star, "Texas Jim" Lewis. In the '30s the boys had recorded for Vocalion & Decca Records – & in the '40s Jack recorded for Capitol Records; on scores of Hollywood film soundtracks; & picked some hot solos on many hits (i.e. "Easy To Please," "Milkcow Blues," & "Mine All Mine") as a member of Jimmy Wakely's Saddle Pals.
Along the way, Jack became one of the very first players to own an electric solid-body Spanish guitar. Custom-made for him circa 1947 by the fabled SoCal-based machinist, Paul Bigsby, Jack's unique – & recently discovered -- guitar seemingly predates the 1948 unit built for fellow Capitol artist, Merle Travis, which has often been credited as the original Bigsby.

In 1950 the brothers settled in Seattle where Jim soon gained further notoriety as the host of KING-TV's kiddie show, Sheriff Tex's Safety Junction & Rivers hosted the beer-fueled hillbilly music program, Rainier Ranch. But today's topic is the music Jack played during his Northwest years – and the local record companies that he recorded for. In time he would operate his own labels including Ranch, JR Ranch, NOW, & MRM Records, but probably the first Seattle label to feature Jack's guitar sounds was Listen Records which was based out of Oliver Runchie's Electricraft recording studio at 622 Union Street. Listen issued Jack's contribution to the then-popular topical saga first sparked by Bremerton's Arkie Shibley & the Mt. Dew Boys & their 1950 hit, "Hot Rod Race," & later taken up by Spokane's Charlie Ryan whose "Hot Rod Lincoln" broke out as a local hit in 1955. Issued between those two country-rap discs (around September, 1952), Jack's "Navy Hot Rod" single showcased the type of hot guitar licks he also played live at area roadhouses including Seattle's Circle Tavern (9602 E. Marginal Way) & Coe's Country Club (NE 110th Street & 10th Avenue NE) up into the 1960s.

GREEN LAKE BAND: circa 1912

MUSIC IN SEATTLE's public parks is a fine old tradition dating back over a century. And Seattle's favorite summertime park -- Green Lake -- has a long history of hosting musical events. Well before myriad popular local 1980s bands rocked there at Bite of Seattle outdoor festivals (prior to being booted after noise complaints from crabby recent arrivals to the neighborhood) -- or Led Zeppelin shook (and possibly cracked) the foundation of the Green Lake Aqua Theater (5900 W. Green Lake Way N.) back on May 11, 1969, or Northwest rock 'n' roll pioneers like the Frantics and Ron Holden & the Playboys played sockhops at the Green Lake Fieldhouse in the 1950s -- the park featured plenty of musical performances & dances.

Upon recently discovering this photograph of the 21-member Green Lake Band I immediately sensed that it may have been taken in vacinity of the park. But the initial research effort wasn't too promising: turns out that one or more Metropolitan Laundry companies (the business seen at right) were located at varying locations around town over the years. But not neccessarily near Green Lake. However, this image is clearly marked as having been produced by the "Maple Leaf Studios -- Green Lake Station Seattle Wash." And, we know that a Mr. J.T. Williams operated that studio. Furthermore: business records reveal that by 1912 Williams' firm was based exactly where (304 Maple Leaf Place) the Maple Leaf neighborhood abuts Green Lake -- right there at E. Green Lake Drive N. and NE 72nd Street. This case for establishing exactly where this image was captured isn't closed yet, but the circumstantial evidence is already interesting...

COON CHICKEN DANCE in SEATTLE: 1933

HOMESICK NEWCOMERS hungering for some good 'ol southern-style home cookin' in Seattle could refer to this map which highlighted several "dining and dancing resorts" along Victory Way (today's Bothell Way & Lake City Way). Among them were: Dick Parker's Pavilion, Mammy's Shack ("chicken... cooked by a real southern mammy"), Southern Home, Bob's Place ("half chicken fried just right"), Dixie Inn, Lem's Corner ("Chicken Dinner: $1"), the Check 'N Double Check ("famous Chili"), & Henry "The Watermelon King's" place ("Real Southern Watermelons Our Specialty").

Had this 1931 map showed the area several more blocks south-ward, it would have also included the most famous, er, infamous of the town's restaurants: the regrettably conceived Coon Chicken Inn (8500 Bothell Way).



The Ferris State University's Jim Crow Museum of Racist Memorabilia informs that the chain was originally founded in Salt Lake City in 1925 by Maxon Lester Graham, who opened his second Inn in Seattle in 1929 and another in Portland in 1930 -- each replete with an absurd giant grinning & winking train porter face as entryways -- & that all three were "popular."




Well, it was certainly not at all "popular" with Seattle's African-American community (who weren't even allowed to live in the North end at that time), and who were doubly offended when uncouth local white youths started a fad based on attaching the menu's mascot image on their cars' spare tires and flaunting them all around town.

At one point -- probably soon after Prohibition's repeal in 1933 -- management added a "cabaret" (liquor bar), dance floor, bandstand, & then "Imported Directly from Chicago" the Joseph "King" Oliver Orchestra to perform in their basement's new Cotton Club which was billed as the "Largest Nite Club In Seattle."























Then, as the late-1950s brought along changes, Graham leased out his property, and in time a new building -- which Ying's Drive-In Chinese Foods occupies today -- was erected on the site.

SEATTLE'S GROOVE RECORD SHOP: 1947

RHYTHM & BLUES records were not easy to purchase in the Northwest back in the 1940s. At that time some of the bigtime labels -- like Decca -- had their own exclusive retail stores, while other shops mostly peddled the polite pop heard on the mainstream whitebread radio stations.

In order to hear honest-to-dog genuine hard-core R&B or jazz, fans had to tune-in to pioneering African-American DJs like Fitzgerald "Eager Beaver" or Bob "Bop" Summerise at tiny radio stations like Bremerton's KBRQ or Tacoma's KTAC.

And to actually buy such discs required a visit to a neighborhood store that catered to the black community -- like Tacoma's Broadway Record Shop, Portland's Bop City Records, or Seattle's legendary Groove Record Shop (1223 Jackson Street). This circa 1947 10" Modern Music Co. 78rpm disc includes "Shuffle Boogie" & "You Won't Let Me Go" by the Los Angeles-based Johnny Moore's Three Blazers. Interestingly, that trio's singer -- the soon-to-be-famous Charles "Merry Christmas Baby" Brown -- is often cited as an early stylistic inspiration to Ray Charles, the soon-to-be-famous singer/pianist who arrived in Seattle in 1948. Lastly, in 1952 Summerise bought out The Groove Shop (which had moved to 1211 Jackson St.), renamed it the World of Music Record Shop, and (while there, & then later at 1412 23rd Avenue / Jackson Street) it remained a cornerstone of the nascent local R&B scene well into the 1960s -- & a place where kids like Jimi Hendrix (& members of teen-R&B bands including the Dynamics & Pulsations) hung out and soaked up all the hip new sounds.