tag:blogger.com,1999:blog-20647730717255437962024-02-20T17:35:23.550-08:00NORTHWEST MUSIC ARCHIVES—EXPLORING LOST HISTORIES OF THE NORTHWEST MUSIC BIZ SINCE 1982—Unknownnoreply@blogger.comBlogger127125tag:blogger.com,1999:blog-2064773071725543796.post-72424135229260738822021-04-30T13:43:00.002-07:002021-04-30T13:43:22.934-07:00LOUDER THAN LOVE (1948)<p> WHO AMONG US is unfamiliar with the fact that one of the most common complaints filed to police departments against venues that book live music has long involved the booming volume of that music? The violation of city "noise ordinances" has led to the closing of many a nightclub or tavern over the decades. And while we can sympathize somewhat with the individuals who have rented an apartment or purchased a home while failing to realize that there is a dancehall downstairs, across the alley, or down the street, the forcing such popular places to go out-of-business and shutter their windows and doors is always unfortunate. So, <i>what</i> then would you do if the loud music was emanating, not from an easy target like a rowdy tavern, but rather from the skies? <i>Who</i> you gonna call? <i>How</i> would you seek relief? </p><p>Well, for guidance on these matters let's review what occurred one day -- October 8, 1948, to be exact -- in Seattle. That was the day that a Gray's Harbor County man named E.R. Jackson decided to test what he called the "world's largest" loudspeaker by blasting musical selections through it from his Cessna airplane, while buzzing downtown Seattle. Read on to learn more about that fateful day...<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1BIBQOwFqyv61B2wgJaUQ8WTY5qCeCeSBRi-bZ89WKxuJiFjmlAZT2sctph8jom-T58x8vi76niFo_LN9YV4qmUt3tPDVdJ_gxmqfhCnGcx_mnPLi25tRBHdAKj4EJvOlwCdP-wrFPkrL/s806/ST+10.9.48+p8.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="606" data-original-width="806" height="481" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1BIBQOwFqyv61B2wgJaUQ8WTY5qCeCeSBRi-bZ89WKxuJiFjmlAZT2sctph8jom-T58x8vi76niFo_LN9YV4qmUt3tPDVdJ_gxmqfhCnGcx_mnPLi25tRBHdAKj4EJvOlwCdP-wrFPkrL/w640-h481/ST+10.9.48+p8.png" width="640" /></a></div><br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-60050358841957113712019-11-06T10:41:00.001-08:002019-11-06T11:16:38.686-08:00HOT GEAR: CONGRESSMAN SUMMERS’ STOLEN UKULELE (1925) <br />
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<span style="mso-fareast-font-family: "Times New Roman";">AMONG THE COUNTLESS FOLKS who caught the Hawaiian music bug in the early decades of
the 20<sup>th</sup> Century was John W. Summers (1870-1937) who took up playing
the ukulele. In his spare time he’d also graduated from the Kentucky School of
Medicine in 1892 and then pursued postgraduate studies in New York, London,
Berlin, and the University of Vienna, Austria. Then in 1908 he moved to Walla
Walla where he practiced medicine and ran a farm. Meanwhile, the Hawaiian music
craze took off locally during Seattle’s Alaska-Yukon-Pacific Exposition (AYPE)
in 1909, when a number of prominent Hawaiian musicians performed there and
continued touring the mainland. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSGWxEnCe8xK8te-J9NEBz2suGbFkSeYnaSar5pNxpjHzWl6I_UzT2JjX1fD67wXzFWzxXeEU8dBmRODW8zxYfqBFAZlPX-tUkJSxeS2RRm4hSkOkzQHo1Lu6Cfki30aVORnT9MjqeJDbX/s1600/John+W+Summers.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSGWxEnCe8xK8te-J9NEBz2suGbFkSeYnaSar5pNxpjHzWl6I_UzT2JjX1fD67wXzFWzxXeEU8dBmRODW8zxYfqBFAZlPX-tUkJSxeS2RRm4hSkOkzQHo1Lu6Cfki30aVORnT9MjqeJDbX/s1600/John+W+Summers.jpg" /></a></div>
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<span style="mso-fareast-font-family: "Times New Roman";"><span style="mso-fareast-font-family: "Times New Roman";">It was in 1917 that Summers was first elected to
the State house of representatives. He</span> proceeded to win additional elections
and eventually moved up to serving in the U.S. Congress in Washington D.C. –
which is where the tale of his beloved ukulele made news. In a March 12, 1925,
column titled “Congressman Summers Bewails Lost Ukulele,” <i style="mso-bidi-font-style: normal;">The Seattle Times</i> reported that while “Representative Summers moved
from his apartment … the ‘uke’ disappeared in transit.” A noted conservative Republican
-- Summers was the author of a bill prohibiting the payment of salaries to District
of Columbia teachers who taught ‘disrespect for the Holy Bible’ – he was livid
over the theft. The news reporting continued in a playful manner: “It is the
latest outrage upon Congress, and the Washington statesman has demanded of the
District of Columbia police that they retrieve the instrument. … The owner has
made strong diplomatic representations concerning the loss, conveying the
intimation that it is a serious one. So far as known, Representative Summers is
the only man in Congress who plays the ukulele. This talent heretofore has been
concealed from his fellow members.” While it remains unknown whether or not
D.C. detectives were ever able to track down the culprit -- or the missing instrument -- we do know that
Summers failed to win his final few elections and returned home to his farm.<span style="mso-spacerun: yes;"> </span>On August 19, 1937, Spokane’s <i style="mso-bidi-font-style: normal;">Spokesman-Review</i> reported that he had recently
suffered a serious illness “but now is quite well and harvesting a big wheat
crop.” But <i style="mso-bidi-font-style: normal;">The New York Times</i> followed
up on September 27<sup>th</sup> with a Page 1 report that he “died at his home here
last night at the age of 67.” Aloha.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-15398154899881289812019-11-05T14:02:00.004-08:002019-11-05T16:00:40.309-08:00THE LAGOURGUE CONCERT BAND (1909-1916)AMONG THE EARLIEST KNOWN BANDS in Seattle were those led by Mr. <b>H. Charles Legourgue </b>(1875-????). A Frenchman who was an accomplished clarinetist, Legourgue seems to have arrived in town around 1909, when he performed as a soloist under Michael Kegrize and the <b>Seattle Symphony Orchestra</b> in a June 13th concert at the Auditorium on the grounds of the Alaska Yukon Pacific Exposition (AYPE) -- Seattle's first World's Fair.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY1u3TWB2A5vw0_BcodKSgErxrFd28QHkw0wLHE5CZZgfSsT5HRp_TOTQRuMqLwSLG_RQhwp8FUuk7FpgJ0QjufTEzT3cuuxu0kmE2D_yNe2Nu0O1M_3IuGZ5MLXMAGSs8xYx020yD7Dwk/s1600/1000w-Lagourgue-1909.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="693" data-original-width="1000" height="443" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY1u3TWB2A5vw0_BcodKSgErxrFd28QHkw0wLHE5CZZgfSsT5HRp_TOTQRuMqLwSLG_RQhwp8FUuk7FpgJ0QjufTEzT3cuuxu0kmE2D_yNe2Nu0O1M_3IuGZ5MLXMAGSs8xYx020yD7Dwk/s640/1000w-Lagourgue-1909.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHQ2N5oHBGIINGqrfElEoKqn-bq0pQNwWBZbjPokJb6h3WJ6ycmu2dyO9fe3Q8A82jqT394UVqK16AuGhYpjzBJy9Eg6YxX_Hu-nMs5ysjxNDtDNVIJlN3wOZDnqlExjzaJUmqZn7IIxxm/s1600/300w-Lagourgue---1913.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="475" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHQ2N5oHBGIINGqrfElEoKqn-bq0pQNwWBZbjPokJb6h3WJ6ycmu2dyO9fe3Q8A82jqT394UVqK16AuGhYpjzBJy9Eg6YxX_Hu-nMs5ysjxNDtDNVIJlN3wOZDnqlExjzaJUmqZn7IIxxm/s1600/300w-Lagourgue---1913.jpg" /></a></div>
Over the following several years -- and as a member of Seattle's AFM Local No. 76 Musicians' Union -- he remained quite active locally, forming and leading his own <b>Legourgue Chamber Music Society Quartet</b>, the <b>Legourgue Chamber Music Orchestra</b>, and the<b> Legourgue Concert Band</b>. He also directed the Northwest Conservatory of Music and was the conductor of the <b>Standard [Theatre] Grand Opera Company</b> orchestra. <br />
<br />
In addition, Legourgue was the composer of songs his ensembles performed including "L'Angelus Sonna," "Chanson d'Automne op. 47 no. 1," "La Ronde sans Fin du bel Oiseau," "2 Melodies Viellottes," "Premiere Chanson," and "Potlatch Spirit."<br />
<br />
On July 31, 1916, the French Consul helped organize a reception at the Washington Annex in Legourgue's honor as he prepared to head off to Chicago where he was to open a music school on, as <i>The Seattle Times</i> noted, "the Paris Conservatory" model. "Later he plans to have a school in each large city of the United States. ... The Seattle school will be in charge of Ethel Murray." Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-50011661181101054292018-07-26T13:21:00.004-07:002018-07-29T10:29:55.625-07:00THE SCANDIA QUARTET on KOMO RADIO (1950-1952)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2lgAwzR8OJlYUFtb6tQNZ26Ao7iIjfBOwBNOdJK7OLg6aZvCjdizNlgS8nh2RT7Vlcknchsjr4naRHC79fb0IWhSklegBVPf8V-nxMNoYo5eId6k7AsM9vPcusfEjnxoTmCNYBwF0Jph9/s1600/500w-Greta-Logan%2527s-band---scandia.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="609" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2lgAwzR8OJlYUFtb6tQNZ26Ao7iIjfBOwBNOdJK7OLg6aZvCjdizNlgS8nh2RT7Vlcknchsjr4naRHC79fb0IWhSklegBVPf8V-nxMNoYo5eId6k7AsM9vPcusfEjnxoTmCNYBwF0Jph9/s1600/500w-Greta-Logan%2527s-band---scandia.jpg" /></a></div>
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THE SCANDIA BARN DANCE was an award-winning live radio program that aired on Seatttle’s KOMO radio from 1950 through
1952. It featured a cast of musicians, singers, actors, and comedic talents who
specialized in the sort of “Scandihoovian” entertainments surely appreciated by
the area’s large population of Scandinavian Americans who dominated the Ballard
neighborhood. The show’s house-band, the Scandia Quartet, was led by
accordionist Greta Logan – and they were also popular city-wide having performed at the 1950 Grand Opening of the Northgate Mall, and supplied tunes for the summer Seafair festival’s square dances held annually at the
Civic Auditorium (225 Mercer Street) and the Trianon Ballroom (218 Wall
Street). Other regulars included the singing duo – Loren Davidson & Ruth
Stendal – announcer Frederick Lloyd (Lloyd G. Bloom, who’d begun as an actor on
KJR in 1934, and then joined KOMO in 1944), and the zany dialect humorist Doug
Setterberg (who started off on KOL’s <i style="mso-bidi-font-style: normal;">Carnival
Hour</i> and then moved to KOMO, eventually becoming a writer and performer for
<i style="mso-bidi-font-style: normal;">Scandia Barn Dance</i>). </div>
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One highlight of
each show was Settterberg’s serial monolog, <i style="mso-bidi-font-style: normal;">The
Little White Cottage Overlooking Shilshole Bay </i>– “just a little bit south
of North Ballard.” Setterberg later went on to wider notoriety as a musical
partner, on records and television, with Seattle’s other great Scandihoovian humorist/musician
Stan Boreson.</div>
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-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-60022536490422433852018-05-02T12:42:00.001-07:002018-07-14T14:07:29.015-07:00HAWAIIAN MUSIC HISTORY FROM THE PACIFIC NORTHWESTBELOW ARE LINKS to essays by Pete Blecha that help document the remarkable history of vintage Hawaiian steel guitar music in the Northwest. They are listed in roughly <i>chronological</i> order:<br />
<br />
<a href="http://www.historylink.org/File/8831" target="_blank">"Hawaiian Music & its Historic Seattle Connection"</a><br />
<br />
<a href="http://www.historylink.org/File/9201" target="_blank">"Helen Louise Ferera (1887?-1919): Seattle's Famed Hawaiian Guitarist" </a> <br />
<br />
<a href="http://nw-music-archives.blogspot.com/2013/10/seattles-columbian-trio-1920s.html" target="_blank">"Georgie MacKie's Columbian Trio (1920)"</a> <br />
<br />
<a href="http://www.historylink.org/File/9160" target="_blank">"John Coppock (1899-1959) & his Deluxe Electric Guitars"</a><br />
<br />
<a href="http://www.historylink.org/File/9077" target="_blank">"John Coppock, Peshastin's Star Guitarist, Returns from Hollywood for Hometown Concert in 1927"</a><br />
<a href="https://www.vintageguitar.com/3905/coppock-guitars/" target="_blank"><br /></a>
<a href="https://www.vintageguitar.com/3905/coppock-guitars/" target="_blank">"Coppock Electric Guitars: Rarities from the Pacific Northwest"</a><br />
<br />
<a href="http://www.historylink.org/File/7479" target="_blank">"Paul Tutmarc (1896-1972) & his Audiovox Electric Guitars"</a><br />
<br />
<a href="http://www.historylink.org/File/8817" target="_blank">"Harvey Hansen (1898-1990) & his Hanburt Electric Guitars"</a><br />
<br />
<a href="http://www.historylink.org/File/10311" target="_blank">"National Institute of Music & Arts, Inc. (Seattle)"</a><br />
<a href="http://www.historylink.org/File/10310" target="_blank"><br /></a>
<a href="http://www.historylink.org/File/10310" target="_blank">"NIOMA Youth Orchestra Concert, Seattle (1933)"</a><br />
<br />
<a href="http://www.historylink.org/File/20370" target="_blank">"Sol Hooppii (1902-1953): The Seattle Years of the King of Hawaiian Guitar"</a><br />
<br />
<a href="http://www.historylink.org/File/20371" target="_blank">"Sol Hooppii performs Final Concert in Seattle (September 28, 1953)"</a><br />
<br />
"Hawaii'n Steel: Sol Hoopii's 1938 Rickenbacher Model B-6" [<i>Vintage Guitar</i> magazine, August 2018] <br />
<br />
<br />
<br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-41040259952531345432017-11-13T11:56:00.002-08:002017-11-13T11:57:42.574-08:00"THE SINGING EARTH" by BARRETT MARTIN (2017)<style>
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</style> What a joy to stumble across this brand-new book published
by Seattle’s Sunyata Books – <i style="mso-bidi-font-style: normal;">The Singing
Earth</i> by Barrett Martin. There are numerous reasons why it, from page one onward, happened to
intrigue this particular reader, but the foremost is
that it is such an <i style="mso-bidi-font-style: normal;">unusual</i> memoir as penned
by a stalwart member of the Northwest’s music community. Martin – like myself –
was an Olympia kid who grew up playing drums all throughout our school years.
We also both ended up studying at the University of Washington – albeit, my
years there preceded his by a decade. From there we both formed or joined rock
‘n’ roll bands, played the local scene, and cut some records. A major <i style="mso-bidi-font-style: normal;">difference</i> in our subsequent paths is
that my bands are mostly better left forgotten, while some of Martin’s will
likely be remembered widely for many years to come. <i style="mso-bidi-font-style: normal;"> </i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUyqf7-nlhcUAlpQzaqr0cVgEpZ1qL2XBGDwKm08tJiojZ4bUQrqyLtNT0h9wCAUSVabLeWOtId6lylJRgAUISmi5b8ro7OqgW1Z0-y1QakyRQ2EP5aO88LxkHe14eSDJQu43iiMQpjcwh/s1600/400w-Singing-Earth-Front-Cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUyqf7-nlhcUAlpQzaqr0cVgEpZ1qL2XBGDwKm08tJiojZ4bUQrqyLtNT0h9wCAUSVabLeWOtId6lylJRgAUISmi5b8ro7OqgW1Z0-y1QakyRQ2EP5aO88LxkHe14eSDJQu43iiMQpjcwh/s1600/400w-Singing-Earth-Front-Cover.jpg" /></a></div>
<i style="mso-bidi-font-style: normal;">The Singing Earth</i> provides some great back-scenes insight into his
time spent auditioning, gigging, and recording with several of the Grunge Era’s
finest bands including <b>Skin Yard</b>, the <b>Screaming Trees</b>, and <b>Mad Season</b>. That
content alone would make Martin’s book – and the accompanying CD containing
rare tracks – a worthy one to dive into, but the bulk of <i style="mso-bidi-font-style: normal;">The Singing Earth</i> conveys Martin’s evolving understandings about
the spirituality of music-making itself. Martin, who earned a masters degree in
ethnology and linguistics, is a fine and noted writer – one who is skilled at
explicating the exotic percussion traditions of the many tribal societies he
has studied via endless travel around the world over the past few decades.
Readers are rewarded with introductory glimpses into musical cultures as
far-flung as those in Africa, the Amazon rainforest, Cuba, the Middle East, and
the Mississippi Delta. Along the way, Martin studies drumming techniques with
various master musicians and also hones his skills as an audio producer. Not
your typical gossipy rock star tell-all here – <i style="mso-bidi-font-style: normal;">The Singing Earth</i> helps us feel the mystical vibrations that have inspired
musicians all across the globe down through the eons.<span style="mso-spacerun: yes;"> </span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-81207215807219469412017-04-10T10:26:00.002-07:002017-06-08T15:20:18.266-07:00YULETIDE CLASSICS: NORTHWEST XMAS SONGS (PART I - 1942-1985)<style>
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Down through the ages many songs have been penned that
celebrate the Yuletide season. In the Northwest, local recording artists have
long excelled at this festive tradition. What follows is a survey of four
decades of Northwest artists and their Christmas recordings.
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<b style="mso-bidi-font-weight: normal;">BING CROSBY:</b>
Surely one of the most notable careers in all musicdom, Crosby recorded the song
"White Christmas" for the movie <i style="mso-bidi-font-style: normal;">Holiday
Inn</i> in 1942, creating an All-American classic favorite. Tacoma-native,
Crosby also recorded wonderful renditions of "Jingle Bells,"
"Little Jack Frost," and countless others." </div>
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<b style="mso-bidi-font-weight: normal;">YOGI YORGESSON:</b> <i style="mso-bidi-font-style: normal;">Yogi Yorgesson, the Hindu Mystic</i> was the
act Harry Stewart first developed and performed on KVI radio live from the
Tacoma Hotel. A bit later he realized his true calling as the creator of zany
Scandinavian ethnic novelty tunes. Yorgesson, the mentor of Stan Boreson,
released his hilarious national hit, "I Just Go Nuts At Christmas" in
1949.</div>
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<b style="mso-bidi-font-weight: normal;">STAN BORESON:</b> The
hero of <i style="mso-bidi-font-style: normal;">KING's Klubhouse</i>, the local
kid's TV show, and the man who gave the world "Swedish Rock 'n' Roll"
in 1959, Boreson finally yielded to popular demand and released his Christmas
LP in the early '70s. Actually his fifth release with sidekick and fellow Scandinavian
screwball, Doug Setterberg, the album presents numerous ridiculous novelty
tunes including my favorite, "Yingle Bells, Yingle Bells."</div>
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<b style="mso-bidi-font-weight: normal;">THE GLOBE TRIO:</b><span style="mso-spacerun: yes;"> </span>This instrumental version of "Silent
Night" was released in 1953 as a 78 rpm disc on a short-lived Seattle
label, Glove Records. Pressed by Seattle recording pioneer Morrie Morrison on
his trademark multi-color wax, Globe's optimistic motto was <i style="mso-bidi-font-style: normal;">Played The World Over</i>. We can only hope
so. The Globe Trio consisted of: Cork Tippin (guitar), NW accordion master
Frank Iacolucci, and on Hammond organ, "E'lan, the Hi-Fi Girl From
Kashmir." 'E'lan" – it turns out – was none other than Ellen Ogilvy,
later one of the forces behind the esteemed '60s labels, Seafair and Bolo
Records. Ogilvy is also the mother of Seattle singing sensation, Jimmy Hanna of
the Dynamics. Oh, and she did actually hail from the distant and exotic local
of <i style="mso-bidi-font-style: normal;">Cashmere</i>, Washington.</div>
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<b style="mso-bidi-font-weight: normal;">JIMMY RODGERS:</b> He
began his career at age five when he sang in a Christmas show in his hometown
of Camas, WA. Rodgers, who bummed all around the Pacific Northwest after the
Korean War, was marketed as a "modern-day folk singer" with his first
hit "Honeycomb" in the summer of '57. "It's Christmas Once
Again" was released in 1958.</div>
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<b style="mso-bidi-font-weight: normal;">THE ELIGIBLES:</b><span style="mso-spacerun: yes;"> </span>Formed in Renton in the mid-'50s, these four
fresh young men hit the charts in 1959 with "Car Trouble." They would
eventually record backing vocals on over 100 discs. As their promo-bio stated:
"extreme versatility is the Eligible' keynote." Their 1960 offering?
"First Christmas With You."</div>
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<b style="mso-bidi-font-weight: normal;">THE VENTURES:</b> If
I explain that the cuts on <i style="mso-bidi-font-style: normal;">The Ventures'
Christmas Album</i> are fairly predictable retreads (you know, the usual
Christmas standards crossed with their early hits, "Walk—Don't Run"
or "Pipeline") you'll get the idea here. Even so, it's entertaining
enough to escape the critical Bah Humbug rating.</div>
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<b style="mso-bidi-font-weight: normal;">RON HOLDEN:</b><span style="mso-spacerun: yes;"> </span>Seattle's Soul Man who was swept out of town
in 1960 on the strength of is national hit, "Love You So," was later
teamed, by his label, with a young (pre-Beach Boy) Bruce Johnston, to write a
series of follow-up singles. His fourth release was "Who Says There Ain't
No Santa Clause." Holden is still a believer today.</div>
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<b style="mso-bidi-font-weight: normal;">DALE SMITH:</b> In
1961, Smith, the house bartender at the Camlin Hotel, entered Joe Boles' West
Seattle studio with local keyboardist Gene Boscocci and Combo, and arranger
Ross Gibson and recorded his "When Christmas Bells Are Ringing" and
"Christmas Story." The single was released on the Seafair-Bolo label,
and like most seasonal records, was promptly never heard of again. </div>
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<b style="mso-bidi-font-weight: normal;">BONNIE GUITAR:</b>
Seattle's '50s country/western Queen released her Merry Christmas LP in the
mid-'60s. Packed full of good old-fashioned carols, it also included some nice
originals such as, "Last Christmas." I've long maintained that there
is something essential about a little pedal steel action during the holidays.
This stuff's great.</div>
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<b style="mso-bidi-font-weight: normal;">THE SONICS / WAILERS
/ GALAXIES:</b><span style="mso-spacerun: yes;"> </span>OK, OK, OK, OK, I know
that this one is the one you've waited for. The legendary multi-band <i style="mso-bidi-font-style: normal;">Merry Christmas</i> LP. Three of the area's
toughest bands of the 1960s joined forces and released the ultimate rockin'
Christmas album. From the Sonics' irreverence on "Don't Believe In
Christmas," and their "Jingle Bells" spoof, "The Village
Idiot," to the Wailers' "Maybe This Year" and the Galaxies'
"Christmas Eve" this record puts most other efforts to shame.
Originally issued at dances in 1966, it has been a highly sought-after item
ever since. This is one disc you may need to speak to Santa directly about if
you want it stuffed in your stocking.</div>
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<b style="mso-bidi-font-weight: normal;">MARK III:<span style="mso-spacerun: yes;"> </span></b>This record was issued in about 1966 as a
limited release intended solely for the customers of the Mayfair Market chain.
The Mark II, a very white vocal trio, was based in Eugene, Oregon. Previously
these young gentlemen had released the wimpiest rendition imaginable of
"Unchained Melody," but for this occasion they came forth with Your
favorite Carols, a five-song EP. The pretty blue vinyl disc includes:
"Deck The Hall," "Jingle Bells," and "Santa Claus Is
Coming To Town." </div>
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<b style="mso-bidi-font-weight: normal;">PAUL REVERE & THE
RAIDERS:</b> Their LP, <i style="mso-bidi-font-style: normal;">A Christmas
Present…And Past</i>, with its nine originals and a salute to the past,
"Jingle Bells," is simply god-awful. Yet, kind on Santa Claus himself
somehow budgeted the time to write liner notes which carefully explain that both
the Raiders and Christmas are "<i style="mso-bidi-font-style: normal;">each
very famous</i>." If you must play this one, please spin "A Very
Heavy Christmas Message." It's good for laughs. </div>
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<b style="mso-bidi-font-weight: normal;">THE MOMS AND DADS: <span style="mso-spacerun: yes;"> </span></b>And now … As Advertised on TV! The pride
of Spokane, this foursome: Quentin Ratliff (sax), Leslie Welch (accordion),
Doris Crow (piano), and Harold Hendren (drums) have been pleasing Eastern
Washington's senior dance crowds for years with their original smash hit song,
"The Ranger's Waltz," and many more. So choose 'yer partners and be
prepared when this capable crew cut loose on "Jingle Bell Rock," a
hot single from the popular <i style="mso-bidi-font-style: normal;">Merry
Christmas / Happy New Year</i> LP. It's a serious toe-tapper.</div>
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<b style="mso-bidi-font-weight: normal;">JIMI HENDRIX:</b><span style="mso-spacerun: yes;"> </span>The supreme electric guitar god of the '60s
grew up within Seattle's '50s rhythm & blues scene. Despite all the
conflicting myths and increasingly compounded biographical confusion, Hendrix
was born and lived here from 1942 until 1961. In December '69, between
rehearsals for his Band of Gypsys' New Years Eve concerts at Fillmore East, Hendrix
let the spirit move him to tape an impromptu take of three seasonal standards:
"Little Drummer Boy," "Silent Night," and "Auld Lang
Syne." Now folks, I'll give fair warning: if what you usually enjoy is the
no-noise-or-nonsense easy listening sounds of the Christmas album series by the
Firestone Tire Co, Orchestra, then this may not be for you. Remember Hendrix'
cosmic freeform dissection of "The Star Spangled banner" at
Woodstock? Well, these simple tunes are given an equally classic Hendrix
treatment. Long after these precious tracks finally reached America's
marketplace via <i style="mso-bidi-font-style: normal;">Can You Please Crawl Out
Your Window?,</i> a bootleg LP, Hendrix' label eventually wised up and released
them as a DJ-only EP in 1979.</div>
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<b style="mso-bidi-font-weight: normal;">DON SNEED AND
CO:<span style="mso-spacerun: yes;"> </span></b>A true period piece, "Santa's
A Hippie" sounds like one of those early-'70s country/pop novelty numbers
that always featured a redneck, though somewhat humorous, good 'ol boy who
talks his story all the way to the ethics lesson at the final verse/punchline.
These guys give the genre a little twist though, by tolerantly asserting that
"It won't change a thing about Christmas, just because Santa has long
hair." Knowing that, I can certainly rest easier now. A member of Walla
Walla's venerable Sneed family Band (who themselves have cut many a country
& western disc over the years), Don apparently set out with his own band
for this one. </div>
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<b style="mso-bidi-font-weight: normal;">HI FI:</b><span style="mso-spacerun: yes;"> </span>This Seattle band released a Christmas single
in 1981. Their original, "It's Almost Christmas," was back by a nifty
instrumental version of "Winter Wonderland" that harkens back to the
Ventures' big-guitar sound.</div>
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<b style="mso-bidi-font-weight: normal;">BILLY RANCHER AND THE
UNREAL GODS:<span style="mso-spacerun: yes;"> </span></b>Christmas circa 1981.
During a fall sweep through New York City, Portland's Boom-Chuck-Rock champions
cut "Happy Santa Claus" at the top-notch Power Station Studios. A big
sound. That big BCR beat. A silly song with reindeer sleighbells and all, it
was released as a nifty one-sided single complete with the ranchman himself
pictured on the sleeve in his custom-fitted leopard-skin Santa suit.<b style="mso-bidi-font-weight: normal;"> </b></div>
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<b style="mso-bidi-font-weight: normal;">POPLLAMA:</b> <span style="mso-spacerun: yes;"> </span>An aggregation of U District bands have
gathered for the previous two years to record special Christmas cassettes for
the PopLlama label. The cassettes, Astray In The Manger ('82) and <i style="mso-bidi-font-style: normal;">Santaclaustrophobia</i> ('83) feature
individual members of Red Dress, Dynette Set, Fastbacks, Moving Parts, New
Flamingoes, Fartz, Lonesome City Kings, Bombardiers, Young Fresh Fellows, and
others on a crazy selection of standards and originals including then unique
hardcore thrasher, "Saint Nick's A Dick." </div>
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<b style="mso-bidi-font-weight: normal;">CHRISTMAS IN THE NORTHWEST:
</b><span style="mso-spacerun: yes;"> </span>Just released, this is the only
record noted here that is readily available. There are, however, additional
reasons to recommend it. Though conceived as a benefit project for Children's
Orthopedic Hospital, this album, which features 14 current local acts, is a
clear musical success. Recorded primarily at Steve Lawson's fine studio, the LP
offers both nicely arranged renditions of some Christmas standards as well as
several new originals. The Seattle Brass Ensemble and other musical
institutions such as the Brothers Four and Walt Wagner are included. Terry
Lauber, former member of '70s rockers, Gabriel, teams up with singer Carol
Mayne on a medley of "Silent Night" / "Oh Come All Ye
Faithful." Jr. Cadillac is thumping out a vintage sounding cover of Elvis'
1957 hit, "Santa Claus Is Back In Town." This LP also offers acoustic
folk numbers, children's music … a little something for everybody. Yes, <i style="mso-bidi-font-style: normal;">Christmas in the Northwest is</i> special.</div>
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Perhaps in years ahead we can highlight other interesting
Northwest Christmas records. If so, we won't forget the discs released by: Russ
Elmore, Bobby May, the Brothers Four, Magi, Julie Miller, L. Rae Miles, Reilly
and Maloney, or Santa's Little Helpers. </div>
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'Til then, Happy Holidays!</div>
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[NOTE: This is a lightly edited version of a feature by Peter Blecha originally published by <i>The Rocket</i> magazine in 1985. Copyright (c) Peter Blecha 1985/ 2017]</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-38949287071073864312016-04-29T14:33:00.001-07:002016-04-29T15:43:39.370-07:00THE SONICS: "MAINTAINING MY COOL"<div class="MsoNormal" style="margin-right: -63pt; text-align: center;">
THE SONICS: MAINTAINING MY COOL </div>
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<i><span style="font-style: normal; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">CD
Liner-notes by Peter Blecha, © Copyright 1990</span></i></div>
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<span style="mso-bidi-font-weight: normal;">BRACE YOURSELF MY
FRIEND</span>. What you hold in your hands is no less than a digitally remastered
reissue of savage ‘60s rock ‘n’ roll as created by one of the few truly
legendary bands of any era – <span style="mso-bidi-font-weight: normal;">The Sonics</span>.
“Legendary”? A recording act with nary an international smash hit to their
credit? A combo that is missing from nearly all of the standard rock reference
tomes? A band that had performed almost strictly to small audiences in the backwaters
of the Pacific Northwest? Yup: <span style="mso-spacerun: yes;"> </span>Legendary
with a capital L.</div>
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Interest in the band persists decades after their demise
because the Sonics’ pioneering punky musical approach predated and quite
conceivably influenced later 3-chord wonders including: the Standells, Kinks,
Music Machine, Seeds, Blues Magoos, Stooges, et al. Although never blessed with
the commercial successes of some of these snot-nosed punks, the Sonics were undeniably
a musical force with lasting impact.</div>
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Indeed, the Sonics’ particularly crude musical genius has in
recent years been recognized by various authorities ranging from the editors at
the Time Life Books/Records outfit (which, albeit decades-after-the-fact,
included a Sonics tune on one of their “Sixties sounds” compilations), to the
Sex Pistols (who offered verbal kudos to their forebears). Rockers as
stylistically divergent as Boss Springsteen and the Cramps have been known to
perform in concert various songs associated with the Sonics. And it wasn’t too
long ago that an entire tribute album was issued featuring a passel of current
bands each pounding out their versions of classic Sonics gems. In addition, the
Sonics’ raucous tunes have appeared in the soundtrack to German art flicks, on
countless garage/punk compilation albums, and have been bootlegged for sale by
piratical record companies worldwide. </div>
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Enter <i style="mso-bidi-font-style: normal;">Maintaining My
Cool</i>. This compact disc package includes both the Sonics’ two regional
radio hits from ’65 – “The Witch” and “Psycho” – couple with thirteen of the
preferred tunes culled from the original band’s final recording sessions in
1966. But, more about that later…</div>
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The Sonics’ saga traces back to their hometown of Tacoma,
Washington. A town forever in the shadow of Mt. Rainier and its first rock ‘n’
roll band, the <span style="mso-bidi-font-weight: normal;">Wailers</span>.<span style="mso-spacerun: yes;"> </span>Like other teenagers, the Sonics’ band-members
– Larry Parypa (guitar), Andy Parypa (bass), Bob Bennett (drums), Rob Lind
(sax), & Gerry Roslie (keys/vocals) – exposure to big-beat music was
largely limited to weekend sock-hops.</div>
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Of course, back in those days the kids danced to Top-40
singles as spun by local disc jockeys – or, if on occasion there was a live act
it would necessarily be some sort of polite jazz sextet or a union-approved
stage band. There were, after all, no rock combos on the local scene yet.</div>
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None, that is, until one young Dixieland band slowly but
inexorably mutated into a rock ‘n’ roll ensemble called the Wailers. Then in
’59 the Wailers surprised everybody by scoring a couple of international hits
with groundbreaking instrumental-rock numbers like “Tall Cool One.”</div>
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Following in the wake of the Wailers’ left-field success,
Tacoma saw the emergence of a number of early combos including: <span style="mso-bidi-font-weight: normal;">Little Bill & the Blue Notes</span>, the <span style="mso-bidi-font-weight: normal;">Convertors</span>, <span style="mso-bidi-font-weight: normal;">Sharps</span>, <span style="mso-bidi-font-weight: normal;">Princetons</span>, and
the <span style="mso-bidi-font-weight: normal;">Ventures</span>.<span style="mso-spacerun: yes;"> </span>Along with a few Seattle-based groups these
acts were among the first generation of local rockers who would forge the new
“northwest Sound” out of elements and influences as disparate as the musics of:
Little Richard, Richard Berry, and Bill Doggett.</div>
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By 1960 the Wailers had rebelled against their New
York-based label, and then acting all codes of conventional industry wisdom,
the teenaged musicians went ahead and formed their own company, Etiquette
Records. Their first release in 1961 was a 45 that instantly defined the
region’s new style of rockin’: “Louie Louie.”</div>
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This occurred at a time when the Pacific Northwest’s
teen-scene was really just string to pick up steam. The teen-dance circuit
itself began to evolve around the activities of a few enterprising radio
DJ’s-turned-promoters. And as the regional scene expanded it became clear who
was the reigning kingpin:<span style="mso-spacerun: yes;"> </span>Pat O’Day the
top on-air man and Program Director at the area’s AM giant, Seattle’s KJR. By
this time KJR had a growing reputation for breaking new hits (nationally) and for
supporting various local 45s with airplay.</div>
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By 1962-’63 combos were emerging from garages on every
street it seemed. A few of the newest Tacoma groups included the <span style="mso-bidi-font-weight: normal;">Sultans</span>, <span style="mso-bidi-font-weight: normal;">Solitudes</span>, <span style="mso-bidi-font-weight: normal;">Searchers</span>,
and our boys, the Sonics.<span style="mso-spacerun: yes;"> </span>After a couple
years bangin’ out as close a facsimile of the Wailers’ sound as they could
collectively muster, the Sonics came up with a couple original tunes that they
felt were ready for vinyl. And so they were soon auditioning for the guys over
at Etiquette Records. </div>
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Floored by the aural onslaught and the band’s originals, the
label signed the band on the spot. Though the young players had about zero
finesse – and as individual musicians they weren’t even close to being anywhere
near the same league as any of the area’s premier combos – the jarring musical
assault of the Sonics was undeniable. The drumming of “Boom Boom” Bennett had
the violent impact of a freshly greased gattling gun; the grinding guitars of
the Parypa brothers work you over worse than a professional wrestling tag-team;
and the bloody-murder screaming that Roslie proffered as singing was – and
quite possibly may remain – unmatched in the biz.<span style="mso-spacerun: yes;"> </span>Then, of course, there was the
unprecedentedly rude lyrical stance of their songs. While the Sonics’ worldview
encompassed the “evil chicks” in their primo putdown song, “The Witch,” or
severely disturbed mental states in “Psycho,” that was clearly not subject
matter or music that would be very soothing to many ears. </div>
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Thus, commercial radio stations were understandably
reluctant to stick their necks out by programming the band’s debut 45. After
numerous long weeks of refusing to air the thing, KJR gave in to public demand
in late-1964 and “The Witch” got its chance. I will personally never forget how
“The Witch” seemed to just <i style="mso-bidi-font-style: normal;">roar</i> out
of the radio having been unmercifully wedged-in between contemporary hits like
Herman’s Hermits’ “Mrs. Brown You’ve Got A Lovely Daughter” and Bobby Vinton’s
“Mr. Lonely.”<span style="mso-spacerun: yes;"> </span>By week’s end the single
was selling thousands of units a week all across Washington State. By summer,
the Sonics were suddenly positioned as the top dance draw in the area.</div>
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For a moment things looked very promising: “The Witch” broke
out of the Northwest and became a charting hit in radio markets including
Orlando, Pittsburgh, and San Francisco. Then great fortune struck when the 45’s
flipside, “Psycho,” began to garner airplay on numerous brave stations. The
damn record was a <i style="mso-bidi-font-style: normal;">double-sided</i> hit –
a rare occurrence in the fickle pop music world. Locally. The general feeling
at the time was that the Sonics were destined for the big-time. Throughout this
period, however, various people involved somehow managed to blow opportunities
to cut a deal by signing the Sonics up to any one of number of major labels
(including RCA, Columbia, and London Records) who had shown interest.</div>
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It was no surprise then when in 1966 the Sonics frustratedly
jumped ship at Etiquette and signed with Jerden Records, a happening Seattle-based
label that had enjoyed a good run of national hits. Jerden – a moniker derived
as a contraction of the name of founder/operator, Jerry Dennon – had in fact
been on a serious commercial roll since 1963. In the final months of that year
Dennon had pushed his 45 by a Portland band called the Kingsmen into a
chart-topping smash: “Louie Louie.” From there, Dennon produced a long string
of the <span style="mso-bidi-font-weight: normal;">Kingsmen</span>’s subsequent Top-40
hits as well as a few by Portland’s next up-&-comers, <span style="mso-bidi-font-weight: normal;">Don and the Goodtimes</span>.</div>
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One they too were on his talent roster, Dennon booked studio
time for the Sonics with Seattle engineer, Kearney Barton – the man who’d
recorded most all of the earliest Northwest hit-makers including the <span style="mso-bidi-font-weight: normal;">Fleetwoods</span>, <span style="mso-bidi-font-weight: normal;">Frantics</span>, <span style="mso-bidi-font-weight: normal;">Gallahads</span>, and
<span style="mso-bidi-font-weight: normal;">Bonnie Guitar</span>. Dennon also brought the
Sonics down to the fabled Gold Star studios – the home of Phil Spector’s “Wall
of Sound” hit-machine – in Los Angeles to have a chance at recording with ace
engineer, Larry Levine.</div>
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The Sonics sure seemed to have momentum goin’ now: Jerden
issued an LP titled <i style="mso-bidi-font-style: normal;">Introducing The
Sonics </i>that was distributed by a major (ABC Records). In addition, the band
flew off to make a TV appearance on Cleveland’s popular nationally syndicated <i style="mso-bidi-font-style: normal;">Upbeat</i> teen-dance show. Then the Sonics’
first Jerden 45, “You’ve Got Your Head On Backwards,” began to get airplay in a
few radio markets – but with little help from ABC it ultimately stalled out. </div>
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Meanwhile various pressures began to take their toll on the
band. Between concerns about college, the draft, and general boredom with the
DJ’s weekly dance circuits, the Sonics began to crumble. In fact, shortly after
the sessions represented on this CD, the band’s personnel began shifting and
with the loss of key founding members and the addition of new blood to their
ranks, the Sonics’ sound was diluted to the tragic point that the once-proud
band finally devolved into a merely serviceable blue-eyed soul lounge act that
while retaining the old name, was but a mere shadow of its former self.</div>
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Thus today only our youthful memories of witnessing the
Sonics cuttin’ loose at the roller skating rink, or the community center rec
hall, or an armory teen-dance remains. Oh, and the records.</div>
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The songs that the Sonics selected to record for Jerden
included a smattering of roots material (Little Richard’s “Bama Lama Bama Loo,”
Little Willie John’s “Leave My Kitten Alone,” Bo Diddley’s “I’m A Man” and
“Diddy Wah Diddy”) as ell as a few stooped pop covers (Tommy James’ “Hanky
Panky” and the Lovin’ Spoonful’s “On The Road Again”). But amid those ditties there
also exist a hard-core of scorchin’ original boomers like “You’ve Got Your Head
On Backwards,” “High Time,” “Dirty Old Man,” and “Like No Other Man” that even
these many years hence offer up ample evidence in support of the notion that
the Sonics were, in reality, every bit as wild and demented s e kids hoped way
back at the roller rink. <i style="mso-bidi-font-style: normal;">Long Live the
Sonics!</i></div>
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<div class="MsoNormal">
[NOTE:<span style="mso-spacerun: yes;"> </span>This is a
lightly edited version of an essay that was originally published as liner-notes
to Jerden Record’s <i style="mso-bidi-font-style: normal;">Maintaining My Cool</i>
CD.]</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-8057108886782056412016-04-29T14:28:00.000-07:002016-04-29T14:28:07.662-07:00THE ULTIMATE SONICS
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt;">THE ULTIMATE SONICS</span></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<em><span style="font-style: normal; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">CD
Liner-notes by Peter Blecha, © Copyright 1990</span></em></div>
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<span style="mso-bidi-font-weight: bold;">The Sonics</span>
were the unholy practitioners of punk rock long before anyone knew what to call
it. But that's not to say that certain parents in the Pacific Northwest didn't
try to come up with a few choice words for the band and their primitive and
brutally raucous sound.</div>
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Originally cut in 1964 and '65 the recordings offered here
represent nothing less than some of the very rawest and most savage rock music
yet achieved by mankind.</div>
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The Sonics aggressive aural attack was due in equal measure
to the perfectly chaotic lead guitar spasms of <span style="mso-bidi-font-weight: bold;">Larry Parypa</span>, the murderous screams that serve as vocal lines as
patented by <span style="mso-bidi-font-weight: bold;">Gerry Roslie</span>, the
frenzied propulsion generated by <span style="mso-bidi-font-weight: bold;">Rob
Lynn</span> (sax) and <span style="mso-bidi-font-weight: bold;">Andy Parypa</span>
(bass) and the absolutely atomic tub thumping of <span style="mso-bidi-font-weight: bold;">Bob "Boom Boom" Bennett</span>. These five bad-boys were
strictly lewd, rude and crude.</div>
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Not only did the Sonics come up with killer riffs on a
regular basis but their song's lyrical content relentlessly explored the full
range of topics from satanic threats ("He's Waitin’"), to evil chicks
("The Witch"), to the joys of overdosing on toxic substances
("Strychnine") to disturbing mental states ("Psycho"). And
all this in the name of fun.</div>
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The Sonics helped fuel a vibrant teen dance scene that also
included other such notable Northwest combos as the Frantics, the Kingsmen,
Paul Revere & the Raiders, the Ventures, Don & the Goodtimes, the
Viceroys, the Counts, the Dynamics, and of course the one band that overshadowed
virtually all of them - the Fabulous Wailers.</div>
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Inspired by the Wailers' success, the Sonics formed in 1963
on the north side of Tacoma, Washington, in the heart of Boeing country. <span style="mso-bidi-font-weight: bold;">"We got our name from the sonic boom
made by the jets," Andy once recalled. "It seemed natural."</span></div>
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The young band's first gigs were the usual, teen sock-hops
and skating rink parties, and on occasion threw their own dances before finding
work at places such as <span style="mso-bidi-font-weight: bold;">Evergreen
Ballroom, Pearl's in Bremerton and of course the Spanish Castle Ballroom on old
Highway 99</span></div>
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Although they maintained the standard 5-piece lineup (sax,
keys, guitar, bass, drums) and they did share with many other local bands a
common core of the Northwest standards in their repertoire, the Sonics simply
transcended any possible limitations erupting with a tough and unprecedented
new sound. It took a good year for the Sonics reputation to take hold, but then
came the day when the Wailers' bassist, Buck Ormsby, out scouting for talent
for their label happened to cross paths with our boys. "They were
practicing in Bob Bennett's basement," Ormsby recalled in 1985. "I
was looking for something that was different, something that would rock my
socks off. I went down and saw them, and I found it. I liked the guitar because
it sounded dirty, and I liked Gerry because he was such a screamer."</div>
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As producer, and co-producer with Kent Morrill, Ormsby's
greatest challenge was to capture on tape, by whatever means necessary, the raw
power and sinister essence of ths unique quintet. And he didn't give a damn
what it took to accomplish this. In this quest they must have irked the poor
studio staff to no end. The band members began by tearing down half the egg
cartons that lined the ceiling and walls in one studio, "to get a liver
sound." They then proceeded to push every piece of the studio's ancient
gear well past reasonable limits. By redlining the deck's VU meters and
overloading every tube in every old amp in the place the Sonics found their
sound. "We had a hell of a time with the engineers," says Ormsby.
"They just weren't used to the full energy stuff. You have to remember
that the state of the recording industry in 1964 was something less than crude.
We kept saying we wanted to do this or that and they kept saying you can't do
that. We didn't care if it bled - I wanted to hear sweat dripping on the
tape."</div>
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Hey, it bled. It sweated. And it was the most gloriously
primitive din you were ever lucky enuff to hear on your transistor radio.</div>
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That first single, <span style="mso-bidi-font-weight: bold;">The
Witch</span>, charted within weeks on a few brave but minor local radio
stations, but not on<span style="mso-bidi-font-weight: bold;"> KJR the region's
dominant Top-40 giant</span>. Led by DJ Pat O'Day the station was clearly ignoring
the single. Kids kept requesting "The Witch", so Pat started playing
it on KJR and the place went nuts". Charting on KJR's fabulous 50 gave it
a real boost and before long "The Witch" was breaking out in
scattered radio markets including Orlando, Pittsburg, upstate New York, and San
Francisco. "The Witch" became the all time best selling local rock
single in Northwest history. Andy once revealed, "O'Day later told me that
eventually the song had reached #1 in sales, but the station policy said it was
too far out to chart at #1. The station only played it after kids got out of
school because of the station's management fears of alienating the housewives
that comprised KJR's daytime audience.</div>
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1965 was a wild year for the Sonics. These were the glory
days for Northwest Rock in general and for the Sonics in particular. By 1966
the band had opened shows for many top acts including the <span style="mso-bidi-font-weight: bold;">Beach Boys, Jan & Dean, Jay & the
Americans, Ray Stevens, Herman's Hermits, the Righteous Brothers, the Kinks,
and the Lovin' Spoonful</span></div>
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In '66 the Sonics signed with Seattle's <span style="mso-bidi-font-weight: bold;">Jerden</span> label which released a handful
of uneven recordings that received national distribution through <span style="mso-bidi-font-weight: bold;">ABC Records</span>, but regrettably they just
never did score that one big international smash hit. But then, their’s was a
specialty market, a finite potential audience, perhaps an acquired taste.</div>
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The Sonics remained a top draw at local dances right into
1967 when they broke their last sound barrier and folded. <span style="mso-bidi-font-weight: bold;">The Sonics will forever be revered for their
solid proto-punk contributions to the sixties.</span> They rocked like bastards
and one imagines to this day that their name alone might send high school
principals and small town police chiefs running for cover. Long live the
Sonics! </div>
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Three chords, two tracks, and one hell of a band: <span style="mso-bidi-font-weight: bold;">THE SONICS</span></div>
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<br /></div>
<ul>
<li><b><span style="mso-bidi-font-weight: bold;">“We were a wild,
dirty, kickass band." - Bob Bennett, 1985</span></b></li>
</ul>
<b>
</b><ul>
<li><b><span style="mso-bidi-font-weight: bold;">“If our records
sound distorted, it's because they are. My brother (Larry, guitar) was always
fooling around with the amps. They were always over driven. Or he was
disconnecting the speakers and poking a hole in them with an icepick. That's
how we ended up sounding like a trainwreck." – Andy Parypa</span></b></li>
</ul>
<b>
</b><ul>
<li><b>“We were nasty. Everything you've heard people say about us
is true." – Larry Parypa</b></li>
</ul>
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<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-23407654603083875242016-02-12T09:46:00.002-08:002016-02-12T11:00:29.975-08:00NW MUSIC: LIVE PERFORMANCE VENUES<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-mZ_xnpBp0xFQbSLXYK4q8Ux0jlaic_N9pZc6u_I_6YpJKCGgYiMKvTgtGxQRYVeW9p1uZnNLbljgdGwfKZHOSikH0hYDomjQI1f17_J-SBcWTuUkxEnUx0Zsnrxu-Pm338t3S0XVKDVr/s1600/600w-SpanishCastleJuly1944.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-mZ_xnpBp0xFQbSLXYK4q8Ux0jlaic_N9pZc6u_I_6YpJKCGgYiMKvTgtGxQRYVeW9p1uZnNLbljgdGwfKZHOSikH0hYDomjQI1f17_J-SBcWTuUkxEnUx0Zsnrxu-Pm338t3S0XVKDVr/s400/600w-SpanishCastleJuly1944.jpg" width="400" /></a><span data-mce-style="color: #800000;" style="font-size: medium;"><b><span data-mce-style="color: #800000;">BELOW
ARE LINKS to essays about
the history of various significant venues and sites where music has been performed in the Northwest. From the area's original natives, to early settlers holding dances on giant tree stumps, to the rise of armories, </span></b></span><span data-mce-style="color: #800000;" style="font-size: medium;"><b><span data-mce-style="color: #800000;">hotels, theaters, </span></b></span><span data-mce-style="color: #800000;" style="font-size: medium;"><b><span data-mce-style="color: #800000;">roadhouses, union halls, nightclubs, restaurants, roller rinks, & arenas, local musicians and their fans have long had some very interesting places to enjoy live music.</span></b></span><br />
<h6>
</h6>
<h6>
<span data-mce-style="color: #800000;" style="font-size: medium;"><b><span data-mce-style="color: #800000;">
</span></b></span></h6>
<ul>
<li>
<a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8876">ALASKA-YUKON-PACIFIC EXPO</a> (1909)</li>
<li><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9232">AQUA THEATRE (</a>1969)</li>
<li><a href="http://nw-music-archives.blogspot.com/2009/02/spokane-in-1890.html">AUDITORIUM THEATER</a> (Spokane, 1890)</li>
<li><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8415">THE BIRDLAND</a> (1955)</li>
<li><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10329">THE BLUENOTE </a>(1951) </li>
<li><a href="http://nw-music-archives.blogspot.com/2013/05/the-1st-record-ever-cut-in-seattle-1923.html">BUTLER HOTEL</a> (1923) </li>
<li><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10214">CAFE RACER </a>(2005)</li>
<li><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9762">CIRQUE PLAYHOUSE</a> (1950)</li>
<li><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8448">CROCODILE CAFE </a>(1991)</li>
<li><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10325">DOUBLETREE INN</a> (1969)</li>
<li><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8894">DUWAMISH LONGHOUSE</a> (2009) </li>
<li><a href="http://nw-music-archives.blogspot.com/search?updated-max=2009-04-29T12%3A36%3A00-07%3A00&max-results=7">EAGLES TEMPLE</a> (Cle Elum, 1947)</li>
<li><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557">EVERGREEN BALLROOM </a>(Olympia, 1931)</li>
<li><a href="http://nw-music-archives.blogspot.com/2015/05/fox-theatre-orchestra-1929.html">FOX THEATRE</a> (1929)</li>
<li><a href="http://nw-music-archives.blogspot.com/2009/02/seattles-1st-punks-1976.html">IOOF HALL</a> (1976)</li>
<li><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=11153">LAKE HILLS ROLLER RINK</a> (Bellevue, 1963)</li>
<li><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8414">MAGIC INN </a>(1964)</li>
<li><a href="http://nw-music-archives.blogspot.com/2015/06/louis-jordan-rocks-seattles-new-orleans.html">NEW ORLEANS CLUB</a> (Renton, 1940s)</li>
<li><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=11003">THE OFF RAMP CAFE</a> (1990)</li>
<li><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10628">OLD TIMERS CAFE</a> (1980)</li>
<li><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=11002">OK HOTEL</a> (1988)</li>
<li><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=3827">PARKER'S BALLROOM </a>(1930)</li>
<li><a href="http://nw-music-archives.blogspot.com/2014/10/the-sonics-busy-body-live-in-tacoma.html">THE RED CARPET </a>(Tacoma, 1964) </li>
<li><a href="http://nw-music-archives.blogspot.com/2011/04/rocking-chair-blues-1949.html">THE ROCKING CHAIR</a> (1949)</li>
<li><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10809">SHOWBOX</a> <a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=3684">THEATER</a></li>
<li><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=3826">SPANISH CASTLE BALLROOM</a></li>
<li><a href="http://nw-music-archives.blogspot.com/2014/11/the-ubangi-club-seattles-hot-nitespot.html">UBANGI CLUB </a>(1936)</li>
<li><a href="http://nw-music-archives.blogspot.com/2009/02/old-town-dance-1938.html">YOUNGSTOWN CLUB</a> (1938)</li>
</ul>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-53376884930718917902016-01-12T11:05:00.002-08:002016-01-12T12:39:39.088-08:00DAVID BOWIE vs. PAUL REVERE & THE RAIDERS (1964)<style>
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</style>WITH THE RECENT PASSING of British rock icon, David Bowie
(on January 10, 2016), comes another moment to reflect on the significant impact that early Northwest rock ‘n’
roll had around the world. Just consider: back in 1964 – when Bowie’s
teen band, Davie Jones and the King Bees, got their first opportunity to cut a record, they did
“Liza Jane” (Decca F 13807). And for that single’s B-side selection they could
have opted to do just about any other song around. But, what they chose was to
cover "Louie - Go Home," the B-side of a fresh 45 by Portland, Oregon’s Paul Revere and
the Raiders. Recently signed to the mega-label, Columbia Records, the Raiders
had followed up their “Louie Louie” single with a second Columbia disc – <i style="mso-bidi-font-style: normal;">also</i> penned by the Los Angeles-based
musician, Richard Berry – titled “Have Love, Will Travel.”<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNbjLuhFj5cbY-pKVUYbM668tA36xCf8eWhaJyAEPrigHRXDpnNAPFfzTS82R1ojjn5XPi-Ue4wcr4L4lMn_rC-YwNEtpwqTmmEW9rpmG9J-x3DCI_Jg0sVRUMpPFk2_BGJi9TO7jXZMFI/s1600/400-w-bowie-decca.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNbjLuhFj5cbY-pKVUYbM668tA36xCf8eWhaJyAEPrigHRXDpnNAPFfzTS82R1ojjn5XPi-Ue4wcr4L4lMn_rC-YwNEtpwqTmmEW9rpmG9J-x3DCI_Jg0sVRUMpPFk2_BGJi9TO7jXZMFI/s320/400-w-bowie-decca.jpg" width="317" /></a><br />
And, as a flipside
for that disc, they included a new tune written by their singer, Mark Lindsay. Its
backstory is that the band had tracked Berry down at some nightclub in order to
introduce themselves and ask if he had any other songs they might be able to successfully
cover. Berry was busy – and perhaps even a bit dismissive of the young rockers
– and their feelings were hurt. Frustrated, Lindsay dashed off the
lyrics to “Louie - Go Home,” and on March 17, 1964, that single (Columbia
4-43008) was released. </div>
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A mere three months later – on June 5, 1964 – the King Bees’ <a href="https://www.youtube.com/watch?v=NcKZl0EYhVI">“Louie, Louie Go Home”</a> was released. It caught the ears of the British press with one reviewer noting
it had a “Pounding beat...It’s a good slice of R&B and could make the
charts,” while another pegged it as a “Hard-hitting R&B follow-up to the
Kingsmen’s ‘Louie, Louie’ hit...surprisingly good for a homegrown group.” Then another up-&-coming young "homegrown" band also took the tune into a studio – although, when
the Who cut it in 1965, the song morphed a bit into something called “Lubie
(Come Back Home).” </div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-89182683838360863862016-01-07T11:26:00.000-08:002016-01-07T11:40:11.665-08:00SEATTLE: THE CITY OF MUSIC - A HISTORY<style>
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</style><span style="font-size: 12.0pt;">Music has been made in the Pacific Northwest
for thousands of years. From the first Native Americans gathering to dance on
these shores to the unholy mosh-pits of the Grunge Era, people in this region
have <i><span style="font-family: Times;">always</span></i> come together to
create music. Over time, many of our finest local players have exerted a
profound impact in various musical realms – including classical, jazz, pop,
country, rock, and hip-hop – and have thus played important roles in shaping
Seattle’s cultural life, and its global reputation. Today this area is as
widely known for its unique sounds as it is for our famed computer and coffee
companies – Seattle has blossomed into the “City of Music” and you are invited
to explore many highlights from our deep history to our robust present through this
website – and with the <a href="http://www.seattle.gov/Documents/Departments/FilmAndMusic/SeattleMusicMapComplete.pdf"><i><span style="font-family: Times;">Seattle Music Map</span></i></a></span><span style="font-size: 12.0pt;">.</span><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5J3dj2JFGi3BpD34tX8nuUBnjEO0cN0No1KhtesvBFxpRyINMSUDyD4ep2T_ppl8N7aeA91pvBDtg-cvWXfCw2HE7NOMGPF98oHcNAoi8F0Aa18f_YMfWTxvSmqYMdNFmvHJZ9Qm6uW58/s1600/Music+Map.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5J3dj2JFGi3BpD34tX8nuUBnjEO0cN0No1KhtesvBFxpRyINMSUDyD4ep2T_ppl8N7aeA91pvBDtg-cvWXfCw2HE7NOMGPF98oHcNAoi8F0Aa18f_YMfWTxvSmqYMdNFmvHJZ9Qm6uW58/s640/Music+Map.png" width="297" /></a><b><span style="font-family: Times; font-size: 12.0pt;"> A Dustbin No Longer</span></b><br />
<span style="font-size: 12.0pt;">Seattle – still a relatively young town – is
certainly not the first to earn a reputation for its regionally distinct
strains of music. Indeed, long before this area gained any notoriety for its
tunes, places like New Orleans, Chicago, and Nashville were already the
celebrated homes of jazz, blues, and country music. As recently as the 1940s
while visiting the area, British symphony conductor [Sir Thomas Beecham]
infamously quipped that Seattle’s arts scene amounted to an “aesthetic dustbin”
– a harsh appraisal that wounded the town’s pride a bit, but surely also one
likely shared by plenty of other worldly cosmopolitans. </span><br />
<br />
<span style="font-size: 12.0pt;">So, though a late-bloomer in joining the
music capitals’ ranks as a particularly inviting place to make and enjoy music,
Seattle has, without a doubt, arrived. Our musical community has successfully
developed an overlapping matrix of vibrant and resilient “scenes” that
increasingly honor their pioneers and simultaneously nurture their emerging
talents. Yet, in hindsight, we can also recognize that the path music-making
takes is like a very busy two-way street –that traffic brings imported influences
from the outside world, and simultaneously exports our local sounds to
appreciative audiences in far-flung locales.</span><br />
<br />
<b><span style="font-family: Times; font-size: 12.0pt;">Early Sounds</span></b><span style="font-size: 12.0pt;"></span><br />
<span style="font-size: 12.0pt;">The earliest-known music created locally was
that which suited the cultural and spiritual needs of the indigenous <i><span style="font-family: Times;">D<u>kh</u><sup>w</sup>’Duw’Absh </span></i>(Duwamish)
Indians during the thousands of years that they’ve dwelled here. Then came
sequential waves of inbound musical traditions brought here by Spanish and
British explorers, French-Canadian fur-trappers, missionaries, miners, loggers,
sailors and soldiers, cowboys, Oregon Trail emigrants – and, much later, World
War Two-era jobseekers. It was, in fact, the children of some of the latter who
grew up steeped in the local music of the 1940s and went on to fantastic
careers – notably jazz and R&B greats like Quincy Jones and Ernestine
Anderson. </span><br />
<br />
<b><span style="font-family: Times; font-size: 12.0pt;">The Wild West</span></b><span style="font-size: 12.0pt;"></span><br />
<span style="font-size: 12.0pt;">But a question arises: <i><span style="font-family: Times;">Why?</span></i> Why exactly did Seattle, of all
places, become a serious music-making center, a genuine “City of Music.” Among
the popular theories advanced to explain this little puzzle are those that
hinge on the notions of geographic and cultural isolation, the
long-acknowledged “Seattle Spirit,” and, well yes, this area’s famous – “It’s
The Water” – precipitation. Considering our relative geographic isolation, this
turn of events would seem highly improbable given that Seattle was simply way
off-the-beaten-path in the eyes of the power centers of America’s entertainment
industries in New York City and Hollywood. During the early decades after
settlement – when few professional entertainers dared brave their way out into
the wilds of the Northwest – local talents made music simply to satisfy
themselves and entertain their friends.</span><br />
<br />
<span style="font-size: 12.0pt;">One theoretical reason that Seattle’s music
is unique is the special character of the Northwest people. Perhaps inspired by
the helpful friendliness of Chief Seattle (“<i><span style="font-family: Times;">Si’ahl'</span></i>”)
and his tribal members who greeted the arrival of the Denny Party here in 1851,
those early denizens of the tiny village we now call Seattle kindly helped one
another settle into their new frontier homes. Among the very first log cabins
constructed was the large cookhouse for Henry Yesler’s steam-powered sawmill –
and that structure served for years as the fledgling community’s public house.
It was there that the villagers entertained themselves. The charming young
daughters of Denny Party member Nathanial Bell (for whom the Belltown
neighborhood is named) were known to perform for their neighbors on occasion.
This sort of cultural isolation ultimately has its impacts on the art that
blossoms from a place, and Northwest music – produced <i><span style="font-family: Times;">not</span></i> to please distant music industry
moguls, rather to appeal to local tastes – slowly began to take shape in its
uniquely regional forms.</span><br />
<br />
<b><span style="font-family: Times; font-size: 12.0pt;">Rhythm of the
Rain </span></b><span style="font-size: 12.0pt;"></span><br />
<span style="font-size: 12.0pt;">Now let’s consider Seattle’s famous rain and
what possible impact it may have on artistic endeavors. Though that silly ‘60s
pop radio hit – “Seattle” – was all about “The bluest skies you’ve ever seen
are in Seattle,” the <i><span style="font-family: Times;">truth</span></i> is
that this is one very soggy place. From ancient times onward, seeking shelter
during the extended rainy months resulted in individuals spending an inordinate
amount of time indoors. Cultural anthropologists have posited that a major
reason why North Coast Salish artwork is among the most stylized – and easily
recognizable – forms developed by any indigenous people on the globe is that
they had abundant food sources which allowed them plenty of time to create art
inside their longhouses. </span><br />
<br />
<span style="font-size: 12.0pt;">In modern times staying inside during the
dark rainy winters can bring a sense of the dreaded “cabin fever,” but it also
can drive creative types to focus ever more deeply on their artistic endeavors.
Musicians increase their skills. Songwriters hone their craft. Audio engineers
perfect their techniques. Bands rehearse and develop formidable sonic profiles
– musical sounds that more than once have managed to capture the attentions of
the outside world.</span><br />
<br />
<b><span style="font-family: Times; font-size: 12.0pt;">Seattle Spirit</span></b><span style="font-size: 12.0pt;"></span><br />
<span style="font-size: 12.0pt;">Then there is that timeworn phrase – “The
Seattle Spirit” – which was initially applied in efforts to describe the
bootstrap vigor with which townsfolk rebuilt Seattle in the wake of the
devastating Great Fire of 1889. Not waiting for others to offer help, those
people displayed an admirable do-it-yourself approach to the disaster. This
“D-I-Y” attitude became an ingrained aspect of the Northwest character – and
one that has energized our artists down through the decades. </span><br />
<br />
<span style="font-size: 12.0pt;">Along the way, this region’s musicians
created their own unwritten ground-rules. They developed an informal set of
attitudes and practices that evolved into a Northwest ethos. Among the tenets
adopted were the rather novel notions that blatant, overt careerism is not
ideal; that collaborative camaraderie amongst musicians is beneficial; and that
a music scene is composed of far more than just the players. Indeed, that the
audience – ideally with an openness to new artistic explorations and
willingness to support the community’s creative individuals – is essential and
must be respected. And on that front Seattle is second to none.</span><br />
<br />
<b><span style="font-family: Times; font-size: 12.0pt;">Seattle Hunch</span></b><span style="font-size: 12.0pt;"></span><br />
<span style="font-size: 12.0pt;">So, then: <i><span style="font-family: Times;">Why</span></i>
has Seattle evolved into an irresistible musical mecca that has attracted so
many idealistic musicians from faraway places? (Hey, anyone remember those
legions of rock ‘n’ roll pilgrims who sought the “Holy Grail” of Grunge here
throughout the 1990s?) Well, in significant part, it is because we have
established an open and supportive music community here. But even that reality
is not something entirely new. Consider the historical fact that players have
long relocated here from distant places in attempts to weave their way into the
Northwest’s enviable and irreplaceable scenes.</span><br />
<br />
<span style="font-size: 12.0pt;">That is certainly why jazz and R&B legend
Ray Charles moved here from Florida in 1948. It is why the struggling country
singer/songwriter Willie Nelson moved to the Northwest in 1957. Same story with
Bakersfield’s honky-tonk hero, Buck Owens, in 1958. Then there was the amateur
songbird Loretta Lynn who moved here from Kentucky around that same time, got a
guitar in Seattle, and launched her remarkable career. Fresh and inviting,
Seattle proved to be a land of opportunity for many additional soon-to-be
famous musicians including the American folk icon Woody Guthrie, who penned 26
Northwest-themed songs here in the during the 1940s, and America’s premier
avant-garde composer, John Cage, who moved here in the 1930s. A decade earlier
our rough-&-tumble jazz joints provided steady work for the self-proclaimed
“inventor” of jazz, Ferdinand “Jellyroll” Morton, who wrote and recorded his
boogie-woogie piano classic “Seattle Hunch.” In each such instance the
Northwest offered a nurturing environment replete with roadhouses and
dancehalls and a receptive audience who supported them on their paths to
stardom.</span><br />
<br />
<b><span style="font-family: Times; font-size: 12.0pt;">206 Talents</span></b><span style="font-size: 12.0pt;"></span><br />
<span style="font-size: 12.0pt;">The Northwest’s most notable talents,
however, were not visitors or recent emigrants at all, but rather, our own
native sons and daughters. Among those who the expansive world of music has
embraced are Bing Crosby (the “world’s most recognized voice”); Mildred Bailey
(“the first female big-band vocalist”); Bonnie Guitar (‘50s country/pop star
& pioneering female producer); the Ventures (world’s most successful
instrumental rock band); the Brothers Four and Chad Mitchell Trio (hit-making
folkies); the Kingsmen (purveyors of the region’s signature song, “Louie
Louie”); the Sonics (‘60s garage/punk pioneers); Jimi Hendrix (psychedelic
bluesman); Larry Coryell (jazz fusion guitar pioneer); Heart (hard rockers);
Mark O’Conner (fiddle virtuoso); Danny O’Keefe (folkie songwriter), Robert Cray
(superstar bluesman); Queensrÿche (heavy metal heroes); Sir Mix-A-Lot (hip-hop
star); and Alice In Chains, Soundgarden, Mudhoney, Pearl Jam, and Nirvana (gods
of the 1980s-1990s grunge scene). On an equally as impressive level, the
Seattle Symphony has in the last couple decades earned a reputation as one of the
world’s most-recorded orchestras.</span><br />
<br />
<b><span style="font-family: Times; font-size: 12.0pt;">Making A Scene</span></b><span style="font-size: 12.0pt;"></span><br />
<span style="font-size: 12.0pt;">Having outstanding musicians alone, however,
does not define a genuine music scene. Just as Seattle continues to grow and
mature, so too does its music biz infrastructure. Seattle’s audio recording
industry has come quite a ways since Joe Boles’ modest home-basement studio cut
the town’s first string of hit records back in the 1950s. Those teenaged rock
‘n’ roll musicians – including the Fleetwoods, who enjoyed a few <i><span style="font-family: Times;">international</span></i> hits – each scored national
hits for Seattle’s first successful pop label, Dolton Records. Inspired by
Dolton’s sudden success, a handful of additional labels – including Jerden,
Seafair-Bolo, Etiquette, and Camelot Records – also got in on the ‘60s action.
Subsequent years saw the emergence of fine new recording studios like Bad
Animals and hit-making records companies including Nastymix and Sub Pop. Today,
Seattle is home to many high-quality studios </span><span style="font-size: 12.0pt;">and several dozen active record companies</span><span style="font-size: 12.0pt;">.</span><br />
<br />
<span style="font-size: 12.0pt;">For musicians, recording a song and then
having it marketed by a record company is but the beginning. The next step has
been getting radio stations to support it with airplay. Luckily, Seattle has
boasted radio stations that supported locally produced records. KJR was an
extremely influential hit-breaking national leader throughout the 1960s, and
more recently KNDD and KEXP have followed suit. Yet another – the high
school-based student-run station, KNHC – has established itself as one of only
six Nielsen-monitored stations that contribute song selection data to <i><span style="font-family: Times;">Billboard </span></i>magazine’s national “Dance
Airplay” chart.</span><br />
<br />
<b><span style="font-family: Times; font-size: 12.0pt;">The City of Music</span></b><span style="font-size: 12.0pt;"></span><br />
<span style="font-size: 12.0pt;">Seattle has always benefited from having
outstanding music schools</span><span style="font-size: 12.0pt;"> including the Cornish School of Fine Arts and the
University of Washington’s Music Department. In addition several local high
schools’ jazz studies programs – most notably at Garfield and Roosevelt – have
for decades consistently been recognized as among the nation’s best. Seattle is
also the home to many music-focused organizations</span><span style="font-size: 12.0pt;"> including one of America’s major music museums – the
Experience Music Project (EMP) – and the city government’s own Office of Film +
Music which helped found the Seattle Music Commission in 2010.</span><br />
<br />
<span style="font-size: 12.0pt;">Considering the ubiquity of live music
performances found here, Seattle – the “City of Music” – has especially earned
its new tagline. Aside from the seemingly endless variety of tunes one can hear
in obvious venues like nightclubs, taverns, theaters, concert halls, and
elevators – remember Muzak (the “background music” company) was based here for
many years! – music can be enjoyed in countless other settings – including the
City’s OnHold program which provides locally produced tunes as background music
heard by people telephoning City departments when they are placed on hold. </span><br />
<br />
<span style="font-size: 12.0pt;">Among
those are the traditional street-corner buskers down at Pike Place Market;
lunchtime concerts at Freeway Park; various Seafair events; the Vera Project’s
all-ages live music shows; the Woodland Park Zoo’s <i><span style="font-family: Times;">Zoo Tunes</span></i> concerts and the music scheduled at numerous
scattered neighborhoods’ weekend farmer’s markets. And that doesn’t even
include all of<b><span style="font-family: Times;"> </span></b>the many
annual festivals </span><span style="font-size: 12.0pt;">at which music plays a key role – such as,
Bumbershoot, the Capitol Hill Block Party, the Decibel Festival, Earshot Jazz
Festival, Northwest Folklife Festival, REVERBfest, the CityArts Fest, and
various ethnic events. So, to summarize, in Seattle, music is <i><span style="font-family: Times;">everywhere</span></i>!</span><br />
<br />
<span style="font-size: 12.0pt;">This city has long sought a definitive
identity that could be easily encapsulated in a punchy marketing tagline. A
century ago it was somehow agreed that Seattle’s preeminence amongst the
region’s sparse settlements had earned its crown as the “Queen City.” Later –
when widely viewed as a company town for the Boeing Company – people started
applying the moniker of “Jet City.” Struggling to escape that inaccurate
nickname, a concerted rebranding campaign began in the 1980s – one that
inexplicably seemed to lean on <i><span style="font-family: Times;">Wizard of Oz</span></i>
iconography by asking us to click our heels and try to believe that we live in
the “Emerald City.” Luckily, one can’t always choose how one is perceived, and
today it is quite clear that many years of community effort have finally
established this place as nothing less than: <i><span style="font-family: Times;">Seattle:
The City of Music</span></i>.</span><br />
<br />
<span style="font-size: 12.0pt;">[Note: This essay by Peter Blecha was </span><span style="font-size: 12.0pt;">originally </span><span style="font-size: 12.0pt;">commissioned by the Seattle Mayor’s Office of Music + Film, and posted on their website from 2011 through 2015.]</span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-76770176491073357562015-07-13T15:54:00.002-07:002015-07-13T15:54:51.628-07:00SEATTLE'S FIRST ANNUAL MUSIC FESTIVAL: 1916
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IN JULY 1916 AN AMBITIOUS MUSICAL EVENT was promoted as
Seattle’s “First Annual Music Festival.” A recently discovered promotional card
reveals that the main musical attraction would be a performance of George
Frederic Handel’s oratorio from “The Messiah.” A hand-penciled note at bottom states "Heard this in Arena, Seattle, July 23-1916" – but a bit more research will be required to determine what venue that actually was. The festival orchestra’s
conductor was none other than the town’s very prominent musician, <b>Claude Madden</b> –
who also served the arts community in many other capacities including the Musical Director for the
Amphion Society, and the President of both the Seattle Clef Club and the
Seattle Composer’s Society. The concert’s soloists included some of the finest
singing talents on the local scene including <b>Mary Louise Clary</b> – who was
already singing in Seattle by 1902, the same year that the <i style="mso-bidi-font-style: normal;">Musical Courier</i> magazine described her as “a contralto of unusual
power and fine quality.” Clary went on to record for Victor records in 1923,
and tour widely with her own Clary Concert Company. Another, Seattle soprano <b>Alma
Simpson</b>, went on to study in Europe and also tour South America several times. The
<i style="mso-bidi-font-style: normal;">Musical Monitor</i> magazine once noted her
as “an American prima donna” who drew large crowds to gigs at prestigious rooms
including New York’s Metropolitan Opera House, the Town Hall, and Carnegie
Hall. Seattle baritone <b>George Hastings</b> also went on to a career in New York,
and later in 1916, Olympia’s famed tenor <b>Theo Karle </b>also went on to make his
New York debut and recorded for Victor Records that same year, but cut his
best-selling discs later for Brunswick Records between 1920 & 1924. Karle also toured
with the New York Philharmonic Orchestra, sang concerts throughout Europe, and finally
settled back home in the Northwest, finally passing away in Seattle in 1972.</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-32492851063107242012015-07-06T15:01:00.000-07:002015-07-06T18:34:08.066-07:00SWEET MADNESS: SPOKANE'S LOST NEW WAVE KINGS (1978-1981)The practice of rock ‘n’ roll archaeology continuously accelerates as the decades race by. At this late date – and given the <i>countless</i>
rock compilation albums that have been issued since the 1980s, &
the growing number of albums that have been issued to represent many
deservedly overlooked vintage bands – it comes as a supreme surprise to
discover <i>any</i> group whose old music demands one’s full attention.<br />
<br />
<a href="http://nwmusicarchives.com/wp-content/uploads/2013/09/sweetmadness1cover.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="sweetmadness1cover" class="alignright wp-image-16318 size-full" src="http://nwmusicarchives.com/wp-content/uploads/2013/09/sweetmadness1cover.jpg" /></a><b>Sweet Madness</b> is perhaps <i>the</i> perfect example.<br />
<br />
Formed in Spokane in 1978 – a time period when that town had zero cultural space for punk, New Wave, or <i>anything</i>
musically interesting – Sweet Madness toiled in predictable obscurity
without breaking through commercially in any measurable way. But as
energetic and highly creative young men, the quartet focused admirably
on their craft: writing impossibly catchy tunes, playing whatever gigs
they could conjure, and – to our great luck – taking the initiative to
cut plenty of their originals at numerous recording studios across the
Northwest.<br />
<br />
In that pre-Grunge Era – when our local music biz infrastructure was
still in its infancy – it was the extremely rare local band that managed
to rise above the legions of other bands and achieve any notable
success. To get a manager was a miracle. To actually cut a record was
highly unlikely. To get that record on the radio was almost
unprecedented. Many tried. Many failed. When the Heats’ “I Don’t Like
Your Face” 45 became a minor “powerpop” hit on a handful of regional
radio stations in 1980 all the scenesters took notice. Then, somehow, the Allies and Rail each saw their new music videos
airing on MTV, and when the Young Fresh Fellows’ debut album was
reviewed by <em>Rolling Stone </em>in 1984, that fact was the
talk-of-the-town for weeks. In 1985 both the U-Men and Green River each
signed to New York’s cool Homestead label and the excitement was
palpable all across town…even though, the looming rise of Seattle’s Sub
Pop label (and the all-conquering Grunge phenomena) were yet
unknowable.<br />
<br />
Still, by that point in time it was just plain too late for some of
the scene’s most promising early talents including Red Dress, the
Blackouts, and the Visible Targets. So the vast majority of the era’s
bands were destined to basically be forgotten footnotes in music
history. Which is downright unjust. It is also why us fans of Northwest
sounds were thrilled to death with the release, a couple years back, of
Sweet Madness’ <b><i>Made In Spokane 1978-1981</i></b> album
– as distributed by Seattle’s mega-successful Light In The Attic label.
The disc won rave reviews far and wide, which undoubtedly helped prompt
the recent [2015] release of the <b><i>Made In Spokane 1978-1981</i> <i>Volume 2</i></b>
album. Both are chock full of delightfully quirky, but fully realized,
rock tunes that might easily have remained locked away in the
subterranean pop-memory vaults of only the band-members themselves and
perhaps a few loyal fans.<br />
<br />
Instead, we can all now gaze back and play the mental game of: What If.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0VjMlhz3i2YjWdDgdcPkmWy79kTWvJhMplhVNldgu7yvtY0f9d1GXw4dQfpWVpjG-oE4q9cbbgLBaYkgAUPhUYj60HwUGM289s_yq9D4yYGPISgSNG9yDCZnuj8Pa7jmPF22l_hP25AW4/s1600/SweetMadnessVol2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0VjMlhz3i2YjWdDgdcPkmWy79kTWvJhMplhVNldgu7yvtY0f9d1GXw4dQfpWVpjG-oE4q9cbbgLBaYkgAUPhUYj60HwUGM289s_yq9D4yYGPISgSNG9yDCZnuj8Pa7jmPF22l_hP25AW4/s400/SweetMadnessVol2.jpg" width="400" /></a></div>
<br />
<i>What if</i> Sweet Madness had managed to score a few more connections with Seattle’s fledgling music-oriented media? <i>What if</i>
those young Spokeville rockers had gotten a shot at playing better gigs
on the New Wave era dance-club scene? What if they’d signed a recording
contract with a savvy label? <i>What if</i> kindred big-time outside
bands – like, say, Split Enz, or Oingo Boingo, or Squeeze – had gotten
the chance to hear them and maybe bring them along on tour? <i>What if? What if? What if? </i><br />
<br />
Well, of course, now we’ll never know. But with these Sweet Madness songs readily available <i>I know</i>
that a lot of us somehow overlooked a terribly promising band, and it
is simply everyone’s loss that we weren’t able to encourage them along
their rightful path to greater success. Next time, as a creative
community, let’s all be more vigilant & try and do a bit better, agreed?Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-22816156253961111962015-06-30T15:29:00.000-07:002015-07-01T08:56:02.818-07:00EARLY SEATTLE SONGBOOK: 1890sSONGS IN SHEET MUSIC FORM were being published in the Oregon Territories by at least the 1870s. Local musicians and songsmiths -- both professional and amateur -- would typically pay a local printing house to design some cover-art and then print a number of copies either for use onstage, or possibly to satisfy their personal vanity by seeing them available for sale at a local music shop, or even with the far-fetched goal of scoring a hit song. Their lyrical topics ranged from sentimental notions, to romantic thoughts, to regionally relevant ditties about the area's natural appeal. Notable examples over the decades include: Olympia's Francis Henry and his "The Old Settler" (1874); Bellingham's Alice Nadine Morrison and her "My Love Is All For You" (1920); and Seattle's Harold Weeks and his "Little Cabin in the Cascade Mountains" (1929).<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj9jwXCINqYOA8XnJHJi61Hzb-tR_7pNVW9AhVCi4ygTik0_jrWs99tRobcyO2FG6WvkRsaFCbJk0ZVtpLrQEVcr0qE6y_TPiTj5Hu-ZYocXgrbaXQa_flVm9-JYrvWSvfeqSGJ54sNWUU/s1600/600w-Seattle-Songbook-1890s-.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj9jwXCINqYOA8XnJHJi61Hzb-tR_7pNVW9AhVCi4ygTik0_jrWs99tRobcyO2FG6WvkRsaFCbJk0ZVtpLrQEVcr0qE6y_TPiTj5Hu-ZYocXgrbaXQa_flVm9-JYrvWSvfeqSGJ54sNWUU/s640/600w-Seattle-Songbook-1890s-.jpg" width="449" /></a></div>
But, <i>individual</i> songs are one thing, while folios of <i>multiple</i> songs are a whole 'nother matter. They are far more scarce. Seen here is what must be one of -- if not <i>the</i> -- earliest published booklet of songs that can be associated with Seattle. A recent eBay find, this (presumably circa 1890s) booklet is titled: <i>All the Latest and Most Popular SONGS Of The Day - Comic and Sentimental - Compliments of The Leading Merchants and Business Houses of Seattle, Wash</i>. The printing firm of Finlayson & Gratke may have been based down in Astoria, Oregon, but the advertisers credited in the 48-page booklet are strictly Seattle-based -- and, interestingly enough, are largely booze & smokes oriented.<br />
<br />
They include: The Merchants cigar shop (109 Yesler Avenue); Butler Cafe - The Choicest of Wines, Liquors and Cigars (Second Street & James Street); Gill & Gill liquors (806 Front Street); Delcho Beer, Wines, Liquors & Cigars (111 Yesler Street); The Demijohn Wines, Liquors and Cigars (910 Second Street); The Drum Fine Wines, Liquors and Cigars (812 Second Sttreet); L. Jaffe & Co. liquors; R. Satori & Co. Wines & Liquors (115 James Street); Harms & Dickman Wines Liquors & Cigars (corner Front Street & Marion Street); P.J. Smith's Oyster House (202 Yesler Street); and Seattle's fabled Horse Shoe tavern.<br />
<br />
A few of the 20+ songs included here are: "A Pretty Girl, A Summer Night," "Kiss and Let's Make Up" -- and the new technology-inspired "Telephone In De Air." However, the commercial <i>genius</i> behind a publication such as this one is that it only included the <i>lyrics</i> to each composition, rather than those <i>and</i> the musical notation required to actually play the songs at home on your parlor piano. Thus, at the bottom of each song's page is a helpful reminder that: "The music for this song can be obtained at O. E. Pettis & Co.'s Music house." As for who the authors of these songs might be, we may never know as this publication failed to bother to mention them!<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnCaIcj65FCaGSx6nzwC0F96IdtrIWRxoGOpn56vC5zeGZ8YDtHL9YQ1xCxPbOpdv7lNuYcfeREFr6rjMGzg9Rm1MUIuk8XMW2uEHif3PpV_58t-5Fg1nL68Lt0_0VISpgqE1vsECoAeWO/s1600/1000w-Seattle-Songbook-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="457" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnCaIcj65FCaGSx6nzwC0F96IdtrIWRxoGOpn56vC5zeGZ8YDtHL9YQ1xCxPbOpdv7lNuYcfeREFr6rjMGzg9Rm1MUIuk8XMW2uEHif3PpV_58t-5Fg1nL68Lt0_0VISpgqE1vsECoAeWO/s640/1000w-Seattle-Songbook-2.jpg" width="640" /></a></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-85323058398073361372015-06-10T16:42:00.000-07:002015-06-10T17:49:08.035-07:00LOUIS JORDAN ROCKS SEATTLE's NEW ORLEANS CLUB: 1940s<style>
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</style>SEATTLE MUSIC FANS had a long and mutual love affair with
the pioneering Harlem-based jump-blues / R&B bandleader, sax-man – and widely renowned “King of the
Juke Box” – Louis Jordan (1908-1975). For decades Jordan brought his band
through the Northwest thrilling throngs of dancers with explosive shows that
were spiced with a comedic edge. Today Jordan is best remembered for a couple
of his many, many hits: “Saturday Night Fish Fry” – which has been touted by
historians as a contender for the title of “First Rock Record” – and “Choo Choo
Ch’Boogie.”<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8n0XQmNCNTj7-RiqIRxrUPJBZF11wq5obyddoIHfDoItjUKK24Yy4LF6UcbHmfy6kdO1tJ_uB6mOajeMAuKlSLWcvEd4C_6Em4ofOqKiIHiA9oYy6wxMGzp8AKf8HrzwEKTvbjz8Nl8lO/s1600/400w-Jordan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8n0XQmNCNTj7-RiqIRxrUPJBZF11wq5obyddoIHfDoItjUKK24Yy4LF6UcbHmfy6kdO1tJ_uB6mOajeMAuKlSLWcvEd4C_6Em4ofOqKiIHiA9oYy6wxMGzp8AKf8HrzwEKTvbjz8Nl8lO/s1600/400w-Jordan.jpg" /></a></div>
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When the <i>final</i> time was that Jordan performed in Seattle
is yet to be determined, but this photo (from the estate of his widow, Martha Jordan) recently surfaced
showing the couple visiting the Century 21 World’s Fair in 1962. Jordan’s band
probably <i>first</i> toured the area pushing their 1930s recordings for the giant
Decca label. Then in the 1940s they came through town quite regularly, playing
major shows in large venues like the Trianon Ballroom (218 Wall Street) and the
Palomar Theater (1300 Third Avenue). But the fun-lovin’ band also enjoyed
after-gig jams at various jazz rooms around town – and even a bit south of
town. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdK_QGfh9HEO04XmLQOzSECPpzZnL1RxvPgr57KZjUOtKDw3dPM50hIPoghslwB1m2IOKOLdRohoBMljcgIvprRa5NKEsY1PuaW45-FBmInsMpu6lmDQdQXfYxQj8pTd0ZNN9k5fVzRQUi/s1600/500w-1962-louis-%2526-martha-jordan.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdK_QGfh9HEO04XmLQOzSECPpzZnL1RxvPgr57KZjUOtKDw3dPM50hIPoghslwB1m2IOKOLdRohoBMljcgIvprRa5NKEsY1PuaW45-FBmInsMpu6lmDQdQXfYxQj8pTd0ZNN9k5fVzRQUi/s400/500w-1962-louis-%2526-martha-jordan.jpg" width="298" /></a></div>
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<br /></div>
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In the 1940s a legendary but short-lived nightspot called
the New Orleans Club – not to be confused with Seattle's more recent (1985-2014) New Orleans Creole Restaurant (114 First Avenue S.) – was founded just down the old dirt road from the Longacres
racetrack west of Renton. As Seattle jazz historian Paul de Barros noted in his
1993 book, <i style="mso-bidi-font-style: normal;">Jackson Street Afterhours</i>:
“The club had a barbeque pit and a New Orleans chef; the band was as hot as the
food. …There was a complete floor show and, for a while, big-time traveling
acts…performed there.” </div>
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<br /></div>
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I recently acquired the New
Orleans Club’s original owners’ amazing collection
of vintage promotional photographs of many of the artists who gigged there. Among these images are those of Billie Holiday (who sang there in
March 1949),<span style="mso-fareast-font-family: "Times New Roman";"> Christine
Chatman (the boogie-woogie pianist who toured with bluesman Joe Liggins),
sax-man Jimmy Jackson, sax-man King “The Pied Piper of Swingdom” Perry, Texas
blues-shouter Smilin’ Smokey Lynn, Mabel Scott, blues singer Mickey Champion, Johnny
Otis, Mel Walker, & Little Esther, and as shown here, two pix of Jordan and
his band. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOBmEP8cCAfnWilZl5RJcg7EuUuaYIP8qczDxwW7jRTckcEf4xV0UoVcbphyphenhyphenUhuNlkVTX7HHvg7TfwQTjuq0s4hNwbs_GesXLydVRfuzCN3dwbLw9YEzudwLJBEnT_C6FXJ0d3I209p7lq/s1600/600w-Jordan-Band.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOBmEP8cCAfnWilZl5RJcg7EuUuaYIP8qczDxwW7jRTckcEf4xV0UoVcbphyphenhyphenUhuNlkVTX7HHvg7TfwQTjuq0s4hNwbs_GesXLydVRfuzCN3dwbLw9YEzudwLJBEnT_C6FXJ0d3I209p7lq/s1600/600w-Jordan-Band.jpg" /></a></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-5714349287959692232015-05-26T11:09:00.001-07:002016-10-25T08:05:10.492-07:00FOX THEATRE ORCHESTRA (1929)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgntn3iIjqPaXaVn3OexIQH1g7-R9ZZKJ8fsPmBU6IkG8O4uoU2QRhmAHGTTEV4ctcqublfBwJ8k8NtNrbow2fQht9b0AnvB8R1q88HlewJc_l_kJybcraM4uk96pDs6L7LG1f_xDOBf9C/s1600/Fox-Theater-Orch.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgntn3iIjqPaXaVn3OexIQH1g7-R9ZZKJ8fsPmBU6IkG8O4uoU2QRhmAHGTTEV4ctcqublfBwJ8k8NtNrbow2fQht9b0AnvB8R1q88HlewJc_l_kJybcraM4uk96pDs6L7LG1f_xDOBf9C/s1600/Fox-Theater-Orch.jpg" /></a></div>
THE FOX THEATRE (at 7th Avenue & Olive Street) had the historic misfortune of opening on April 19, 1929
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</style> <span style="font-family: "times new roman"; font-size: 12.0pt;">– a mere six months before the stock market crash and beginning of the Great Depression. Tough times saw the grand Spanish Baroque-style venue changing ownerships and identities over subsequent years, at times presenting entertainment as the Roxy, the 7th Avenue, the Emerald Palace, and finally the Music Hall (razed in 1992). But, while still doing business as the Fox, its house orchestra included some of Seattle's finest players. Here is a newly unearthed photograph showing the ensemble's dapper woodwind section, who were all prominent members of the town's American Federation of Musicians Local-76. Seen (left-to-right) are:</span><br />
<ul>
<li><b>Ronald Phillips</b> (1906-2004): clarinet / conductor, joined AFM
76 in 1920, also played with the Seattle Symphony and was a noted UW
instructor.</li>
<li><b>Frank Horsfall </b>(1883-1968): flute, joined AFM 76 in 1908, also played
with the Seattle Symphony, and has a major annual flute competition named in his honor. <b><br /></b></li>
<li><b>Whitney Tustin</b> (1911-2002): english horn / oboe, joined AFM
76 in 1927, also played with the Seattle Symphony and was an important local
oboe teacher.<br /> </li>
<li><b>Angelo Recchia</b> (1898-1981): clarinet / saxophone / oboe, joined
AFM 76 in 1918, and (according to AFM 76-493's Secretary, Kirsten James) was a quite probably another member of the Seattle Symphony.</li>
</ul>
<ul>
</ul>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzn2iF-PEOBMV_sF3Kb1nBx6CwGraN1D6YI1nJXAfGaxYni4-fcx-Ch0idjtvEjr5bIlHF7e2fN7itL2Cp0CB3DIxAgJvZO_04zEGnrBPVhWD7MKsbRibebb5jkh6Z2Aiz60ZgqhWvCV_0/s1600/500w-Fox-Theater.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzn2iF-PEOBMV_sF3Kb1nBx6CwGraN1D6YI1nJXAfGaxYni4-fcx-Ch0idjtvEjr5bIlHF7e2fN7itL2Cp0CB3DIxAgJvZO_04zEGnrBPVhWD7MKsbRibebb5jkh6Z2Aiz60ZgqhWvCV_0/s1600/500w-Fox-Theater.jpg" /></a></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-60035799909242908072015-02-27T15:16:00.002-08:002015-02-28T15:05:28.326-08:00MERRILL WOMACH: SPOKANE's GOSPEL GREAT<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSfDCgzu_Xx4eDgRurSzMihg-cjqW4KI6VYV41QtjshpYszEYfxPsCCKNCwx4pGCpvbRq3oIAty3ul4No98_ySoH9Iqyyij8cM6igQPti5WISryYWNcVZxKxlFqtgEM4nU7_phLBqIOVxb/s1600/womach-pix-2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSfDCgzu_Xx4eDgRurSzMihg-cjqW4KI6VYV41QtjshpYszEYfxPsCCKNCwx4pGCpvbRq3oIAty3ul4No98_ySoH9Iqyyij8cM6igQPti5WISryYWNcVZxKxlFqtgEM4nU7_phLBqIOVxb/s1600/womach-pix-2.jpg" height="320" width="261" /></a>MERRILL WOMACH (February 7, 1927 – December 28, 2014) was the
Spokane-born son of a salesman who began singing publicly at age six. As
a high schooler he hosted his own radio show, and also sang with local
quartet and a choir. While attending Seattle's Northwest Ministerial
College, Womach directed a daily radio program for three years, and also
served as assistant pastor and music director at Spokane's Fourth
Presbyterian Church. He also sang as a soloist with a civic choir, and
then spent a year in Los Angeles making concert, radio and television
appearances.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi78ATqE-JxFMlF6O5l5tEGnlPsml0-oG2tTLvWgwWG5kcjMum_ybEVEgESKLE_XdKvCRFnpgiSuMra2ldZ_3djAf_L5r_bg1X9UhCubwZAnmK3_MJ-uSAEcS1jp5HK4UbSgC8P2YDYneTd/s1600/400w-Womach-LP.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi78ATqE-JxFMlF6O5l5tEGnlPsml0-oG2tTLvWgwWG5kcjMum_ybEVEgESKLE_XdKvCRFnpgiSuMra2ldZ_3djAf_L5r_bg1X9UhCubwZAnmK3_MJ-uSAEcS1jp5HK4UbSgC8P2YDYneTd/s1600/400w-Womach-LP.jpg" /></a>After entering the mortuary field to work as an undertaker,
in 1958 Merrill also founded a business, the National Music Service, which
provided recordings of his own spirituals (5,000 songs, eventually) along with
one of two primitive playback systems which he leased out to funeral
parlors.<br />
<br />
That regional business eventually grew into a much larger entity
(the Global Distribution Network, Inc.) which serviced 5,000 clients. In
1960 he formed Melodies Divine records in Spokane and released his debut
LP, <i>My Song</i>, which featured as many as 42 of his overdubbed
vocal lines that created a chorus effect.<br />
<br />
Meanwhile, as an aviator,
Womach was involved in a plane crash in Beaver Marsh, Oregon, on
November 23, 1961. It was an horrific accident which left him disfigured with third degree burns on
his hands and his entire head. <i>People</i> magazine reported in 2013
that: "On the race to the hospital he startled his fast-driving
benefactors with a song of celebration. 'My doctor says most people
burned as badly as I was die from shock....I didn't, I sang. That kept
me awake. That kept me alive.'"<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Sgk18lQHgOKpPKsoy6A2h0H8e4QyVg31at1H7J5BksaFKaiygXqPwIcooU29pV5wX_Youw6ujGc2e0-7nkUSDfNl7E1KGCxssu9rc2dyiUoPvIBe1OqQLAUwjFCsp05v993vZEejuBzB/s1600/200w-Womach-burned.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Sgk18lQHgOKpPKsoy6A2h0H8e4QyVg31at1H7J5BksaFKaiygXqPwIcooU29pV5wX_Youw6ujGc2e0-7nkUSDfNl7E1KGCxssu9rc2dyiUoPvIBe1OqQLAUwjFCsp05v993vZEejuBzB/s1600/200w-Womach-burned.jpg" height="195" width="200" /></a></div>
<br />
A lucky survivor, Womach went on to
authorize an autobiography, <i>Tested by Fire</i>, and a documentary film titled <i>He Restoreth My Soul</i>
was also made about Womach's accident and subsequent recovery. Merrill
began recording again in 1967, cutting over a dozen LPs, and finally
died in his sleep on December 28, 2014.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixgzEwVpp85nItDO0GMKD9duynm-me1aDIVI2SD8IhbZGsoxEJZAwMulWMQ5vs6HKOBrsUQWS8Q-UgzgvfUpfK2V4uq4lJzCMqnNZG73QlE4dnJtEa-VatCi8EwMsZjO0CZOa8Wz591UF3/s1600/womach-pix-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixgzEwVpp85nItDO0GMKD9duynm-me1aDIVI2SD8IhbZGsoxEJZAwMulWMQ5vs6HKOBrsUQWS8Q-UgzgvfUpfK2V4uq4lJzCMqnNZG73QlE4dnJtEa-VatCi8EwMsZjO0CZOa8Wz591UF3/s1600/womach-pix-1.jpg" height="400" width="294" /></a></div>
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<br />
Merrill Womach's recordings include these albums:<br />
<ul>
<li>1960 <i>My Song</i></li>
<li>1967 <i>I Believe in Miracles</i></li>
<li>1968 <i>Merrill Womach Sings Christmas Carols</i></li>
<li>1969 <i>A Time For Us</i></li>
<li>1970 <i>Surely Goodness and Mercy</i></li>
<li>1973 <i>I Stood At Calvary</i></li>
<li>1974 <i>Happy Again</i></li>
<li>1976 <i>Mine Eyes Have Seen The Glory</i></li>
<li>1977 <i>In Concert</i></li>
<li>1977 <i>In Quartet</i></li>
<li>1977 <i>New Life Collectible</i></li>
<li>1979 <i>Images Of Christmas</i></li>
<li>1979 <i>My Favorite Hymns</i></li>
<li>1980 <i>Reborn</i></li>
<li>1981 <i>Classical</i></li>
<li>1981 <i>I'm A Miracle, Lord</i></li>
<li>1981 <i>Merrill</i></li>
<li>1983 <i>Feelin' Good</i></li>
<li>1985 <i>Thank You, Lord </i></li>
</ul>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-18717280617385848972014-12-22T09:34:00.000-08:002015-01-04T11:21:46.928-08:00NW MUSIC: THE SAGA OF "LOUIE, LOUIE."<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkydjF-oBrMDdUQbj8THVi3T0hh8NPdy1kvDgPIw1OfhhycdN65G7CZNWb5RjtUKq3h1Dj0IRrATAlQkMkt8HVWNd3O9BhwB3u9Ps-QdSXX8pdbIZgZGWlaNqTdKBJ1nfk7XdLfKoGM4cR/s1600/400w-Richard-Berry-1957.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkydjF-oBrMDdUQbj8THVi3T0hh8NPdy1kvDgPIw1OfhhycdN65G7CZNWb5RjtUKq3h1Dj0IRrATAlQkMkt8HVWNd3O9BhwB3u9Ps-QdSXX8pdbIZgZGWlaNqTdKBJ1nfk7XdLfKoGM4cR/s1600/400w-Richard-Berry-1957.jpg" /></a></div>
<span data-mce-style="color: #800000;" style="font-size: large;"><b><span data-mce-style="color: #800000;">BELOW ARE LINKS to essays detailing
the long history of the Northwest's signature rock 'n' roll song: "Louie, Louie." From 1957, when Richard Berry brought his song here from California; to Seattle's Dave Lewis Combo rockin' it at the Birdland; to its adoption by </span></b></span><span data-mce-style="color: #800000;" style="font-size: large;"><b><span data-mce-style="color: #800000;">the Playboys, </span></b></span><span data-mce-style="color: #800000;" style="font-size: large;"><b><span data-mce-style="color: #800000;">Little Bill & the Bluenotes, and the Viceroys; to radio hit versions by Rockin' Robin & the Wailers, the Kingsmen, and Paul Revere & the Raiders; then the Sonics booming it for all eternity; a humorous 1980s campaign to get the ditty named </span></b></span><span data-mce-style="color: #800000;" style="font-size: large;"><b><span data-mce-style="color: #800000;"> Washington State's</span></b></span><span data-mce-style="color: #800000;" style="font-size: large;"><b><span data-mce-style="color: #800000;"> "official rock song," and ever onwards...</span></b></span><br />
<ul>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/11/the-black-roots-of-northwest-rock-2000.html" href="http://nw-music-archives.blogspot.com/2014/11/the-black-roots-of-northwest-rock-2000.html">"The 'Black Roots' of the Original Northwest Sound"</a></span></b></span></li>
<li><span style="font-size: large;"><b><a data-mce-href="http://nw-music-archives.blogspot.com/2009/12/richard-berry-1935-1997-part-i.html" href="http://nw-music-archives.blogspot.com/2009/12/richard-berry-1935-1997-part-i.html">"Richard Berry (1935</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://nw-music-archives.blogspot.com/2009/12/richard-berry-1935-1997-part-i.html" href="http://nw-music-archives.blogspot.com/2009/12/richard-berry-1935-1997-part-i.html">1997): Part I"</a></b></span></li>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9173" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9173"><span style="color: black;">"'</span>Louie Louie' makes Seattle Debut at September 21, 1957 Eagles Hall Dance"</a></b></span></li>
<span style="font-size: large;">
</span>
<li><span style="font-size: large;"><b>"'<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=5206" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=5206">Louie Louie': The Saga of a Northwest Hit Song"</a></b></span></li>
<span style="font-size: large;">
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557"><span style="color: black;">"</span>Evergreen Ballroom: Olympia's Lost Landmark (1931</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557">2000)"</a></b></span></li>
<span style="font-size: large;">
<b>
</b><b>
</b><b>
</b>
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/11/dave-lewis-seattles-1950s-r-pioneer-1983.html" href="http://nw-music-archives.blogspot.com/2014/11/dave-lewis-seattles-1950s-r-pioneer-1983.html">"Dave Lewis: Seattle's 1950s R&B Pioneer" (1983)</a> </span></b></span></li>
<span style="font-size: large;">
<b>
</b>
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8684" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8684">"Dave Lewis: The Father of Northwest Rock"</a> </b></span></li>
<span style="font-size: large;">
<b>
</b>
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/dave-lewis-1938-1998-tribute.html" href="http://nw-music-archives.blogspot.com/2014/10/dave-lewis-1938-1998-tribute.html">"Dave Lewis (1938—1998): A Tribute" (1998)</a></span></b></span></li>
<span style="font-size: large;">
<b>
</b>
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://nw-music-archives.blogspot.com/2014/06/barney-hilliard-seattles-1950s-teenaged.html" href="http://nw-music-archives.blogspot.com/2014/06/barney-hilliard-seattles-1950s-teenaged.html">"Barney Hilliard: Seattle's First Teenage R&B Sax Star"</a></b></span></li>
<span style="font-size: large;">
<b>
</b>
</span>
<li><span style="font-size: large;"><b>"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8415" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8415">Birdland: Seattle's Fabled '50s R&B Hotspot"</a></b></span></li>
<span style="font-size: large;">
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/little-bill-and-bluenotes-tacomas-teen.html" href="http://nw-music-archives.blogspot.com/2014/12/little-bill-and-bluenotes-tacomas-teen.html">"Little Bill and the Bluenotes: Tacoma's Teen-R&B Pioneers (1958-1960)"</a></span></b></span></li>
<span style="font-size: large;">
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8947" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8947">"Etiquette Rules! The Northwest's Reigning '60s Garage-Rock Record Company"</a></b></span></li>
<span style="font-size: large;">
</span>
<li><span style="font-size: large;"><b>"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9217" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9217">Rockin' Robin Roberts (1940</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9217" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9217">1967): Tacoma's Legendary Rock 'n' Roller"</a> </b></span></li>
<span style="font-size: large;">
</span>
<li><span style="font-size: large;"><b>"<a data-mce-href="http://nw-music-archives.blogspot.com/2009/11/rockin-robin-roberts-rip-2009.html" href="http://nw-music-archives.blogspot.com/2009/11/rockin-robin-roberts-rip-2009.html">Rockin' Robin Roberts: R.I.P."</a></b></span></li>
<span style="font-size: large;">
</span>
<li><span style="font-size: large;"><b>"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8924" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8924">Joe Boles: Seattle's First Hit-Making Audio Engineer"</a></b></span></li>
<span style="font-size: large;">
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/the-history-of-nw-rock-vol-2-garage.html" href="http://nw-music-archives.blogspot.com/2014/10/the-history-of-nw-rock-vol-2-garage.html">"<i>The History of Northwest Rock, Vol. 2: The Garage Years</i>"</a></span></b></span> </li>
<span style="font-size: large;">
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/11/the-kingsmen-best-of-featuring.html" href="http://nw-music-archives.blogspot.com/2014/11/the-kingsmen-best-of-featuring.html">"The Kingsmen: <i>Best of, featuring 'Louie, Louie</i>'" (LP liner notes, 1988)</a></span></b></span></li>
<span style="font-size: large;">
</span>
<li><span style="font-size: large;"><b>"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8441" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8441">Jerden Records: When the Seattle Music Biz Got Serious"</a> </b></span> </li>
<span style="font-size: large;">
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-viceroys-seattle-rock-royalty-1958.html" href="http://nw-music-archives.blogspot.com/2014/12/the-viceroys-seattle-rock-royalty-1958.html">"The Viceroys: Seattle Rock Royalty (1958</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-viceroys-seattle-rock-royalty-1958.html" href="http://nw-music-archives.blogspot.com/2014/12/the-viceroys-seattle-rock-royalty-1958.html">1966)"</a></span></b></span></li>
<span style="font-size: large;">
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8844" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8844">"The Sonics: Tacoma's '60s Garage-Rock Teen Titans"</a> </b></span></li>
<span style="font-size: large;">
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://seattletimes.nwsource.com/html/entertainment/2003643550_louietimeline01.html" href="http://seattletimes.nwsource.com/html/entertainment/2003643550_louietimeline01.html">"'Louie Louie' Through the Ages"</a></b></span></li>
<span style="font-size: large;">
</span>
<li><span style="font-size: large;"><b>"<a data-mce-href="http://community.seattletimes.nwsource.com/archive/?date=20070401&slug=louie01" href="http://community.seattletimes.nwsource.com/archive/?date=20070401&slug=louie01">Garage Rock Anthem ‘Louie Louie’ Turns 50"</a></b></span></li>
</ul>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-20907671505455791022014-12-22T09:21:00.005-08:002016-04-29T15:45:35.521-07:00NW MUSIC: 1950s ROCKABILLY<div style="text-align: right;">
</div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFoJYv3N7EmgS0wPzYX6XleSOC8wkVPhmngB9yha0J5ffBXSY6awkQhS3HRQspNla30n42IhJ6BTk3BXxpZ5OwmvzmVqDShu_7qEBRbJbuARNhSy8_PrfMkDe9jwnNhAmFjX7s7QAXngUB/s1600/400w-Donnie-Dean-&-D-Notes.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFoJYv3N7EmgS0wPzYX6XleSOC8wkVPhmngB9yha0J5ffBXSY6awkQhS3HRQspNla30n42IhJ6BTk3BXxpZ5OwmvzmVqDShu_7qEBRbJbuARNhSy8_PrfMkDe9jwnNhAmFjX7s7QAXngUB/s1600/400w-Donnie-Dean-&-D-Notes.jpg" /></a><span data-mce-style="color: #800000;" style="font-size: large;"><b><span data-mce-style="color: #800000;">BELOW ARE LINKS to essays about
the history of 1950s rockabilly music in the Northwest. From the first gigs in the region by Bill Haley and his Comets in 1955, right on through subsequent ones by Gene Vincent & the Bluecaps, Buddy Holly & the Crickets</span></b></span><span data-mce-style="color: #800000;" style="font-size: large;"><b><span data-mce-style="color: #800000;">, Eddie Cochran, Elvis Presley, Ricky Nelson, and all the other </span></b></span><span data-mce-style="color: #800000;" style="font-size: large;"><b><span data-mce-style="color: #800000;">touring stars from the deep south and Hollywood. And then the rise of homegrown rockabillies and rockabelles like Clayton Watson & the Silhouettes, the Benny Cliff Trio, Sherree Scott & the Melody Rockers, and more... </span></b></span><br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<ul><b></b>
<li><span style="font-size: large;"><b><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/the-50s-rockabilly-invasion-of.html" href="http://nw-music-archives.blogspot.com/2014/10/the-50s-rockabilly-invasion-of.html">"The 1950s Rockabilly Invasion of the Northwest"</a></b></span></li>
<li><span style="font-size: large;"><b><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=11222" target="_blank">"Hot-Rod Songs of the Northwest (1950-1960)"</a></b></span></li>
<li><span style="font-size: large;"><b><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=11221" target="_blank">"'Hot Rod Lincoln' hit song by Spokane's Charlie Ryan scores on <i>Billboard</i> Charts (1960)"</a></b></span></li>
<li><span style="font-size: large;"><b> </b></span><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/rockin-party-nw-rockabilly-discoveries.html" href="http://nw-music-archives.blogspot.com/2014/10/rockin-party-nw-rockabilly-discoveries.html">"Rockin' Party: the Northwest's Rockabilly Roots" (1990)</a> </span></b></span></li>
<span style="font-size: large;">
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557">"Evergreen Ballroom: Olympia's Lost Landmark (1931</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557">2000)"</a></b></span></li>
<span style="font-size: large;">
<b>
</b>
</span>
<span style="font-size: large;">
<b>
</b>
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/11/clayton-watson-northwest-50s-rockabilly.html" href="http://nw-music-archives.blogspot.com/2014/11/clayton-watson-northwest-50s-rockabilly.html">"Clayton Watson: Northwest '50s Rockabilly Pioneer" (1983)</a></span></b></span></li>
<span style="font-size: large;">
<b>
</b>
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-maddy-brothers-country-rockabilly.html" href="http://nw-music-archives.blogspot.com/2014/12/the-maddy-brothers-country-rockabilly.html">"The Maddy Brothers: Country / Rockabilly Cats (1954</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-maddy-brothers-country-rockabilly.html" href="http://nw-music-archives.blogspot.com/2014/12/the-maddy-brothers-country-rockabilly.html">1965)"</a></span></b></span></li>
<span style="font-size: large;">
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8935" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8935">"The Women of Northwest Rock: The First 50 Years (1957</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8935" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8935">2007)"</a></b></span></li>
</ul>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-36136587524587616752014-12-22T08:01:00.002-08:002016-04-30T15:07:24.238-07:00NW MUSIC: COUNTRY & FOLK<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFgG7U0kXGByIhp5BP1ATSdeozu5gJVlZ0D-4AAh98omWlZOHoI9U80ZK-IAaw6gZ5aQYnLWYIgI0diANzbFBDLbXM1lwUCCKr0NNjthrsIljM0Bg8TQnHS6GWCJ3RBwHNyY9mYZF2LDG2/s1600/400w-CHEROKEE-JACK.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFgG7U0kXGByIhp5BP1ATSdeozu5gJVlZ0D-4AAh98omWlZOHoI9U80ZK-IAaw6gZ5aQYnLWYIgI0diANzbFBDLbXM1lwUCCKr0NNjthrsIljM0Bg8TQnHS6GWCJ3RBwHNyY9mYZF2LDG2/s1600/400w-CHEROKEE-JACK.jpg" /></a><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><span data-mce-style="color: #800000;">BELOW ARE LINKS to essays about
the history of hillbilly, country/western, and folk music in the Northwest. From early rural sounds, to Wobbly anthems, pioneering country bands, regional radio hits, roadhouse hoe-downs, folk balladeers, and 1960s folk-rockers.</span></span></b></span><br />
<ul>
</ul>
<ul>
<li><b><span data-mce-style="color: #800000;" style="font-size: large;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7441" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7441"><span data-mce-style="color: #800000;">"Country Music in the Pacific Northwest"</span></a></span></b></li>
<li><b><span data-mce-style="color: #800000;" style="font-size: large;"><a data-mce-href="http://nw-music-archives.blogspot.com/2010/02/seattles-banjo-gal-1800s.html" href="http://nw-music-archives.blogspot.com/2010/02/seattles-banjo-gal-1800s.html"><span data-mce-style="color: #800000;">"Annie Jackson: Seattle's 1800s Banjo Gal"</span></a></span></b></li>
<li><b><span data-mce-style="color: #800000;" style="font-size: large;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7575" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7575"><span data-mce-style="color: #800000;">"Labor Song Traditions of the Northwest"</span></a></span></b></li>
<li><b><span data-mce-style="color: #800000;" style="font-size: large;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7548" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7548"><span data-mce-style="color: #800000;">"'Morrie' & Alice Morrison: Northwest Music Industry Pioneers"</span></a></span></b></li>
<li><b><span data-mce-style="color: #800000;" style="font-size: large;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557"><span data-mce-style="color: #800000;">"Evergreen Ballroom: Olympia's Lost Landmark (1931</span></a></span><span data-mce-style="color: #800000;" style="font-size: large;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817"><span data-mce-style="color: #800000;">—</span></a></span><span data-mce-style="color: #800000;" style="font-size: large;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557"><span data-mce-style="color: #800000;">2000)"</span></a></span></b></li>
<li><b><span data-mce-style="color: #800000;" style="font-size: large;"><span style="color: blue;">"</span><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=3826" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=3826"><span data-mce-style="color: #800000;">The Spanish Castle Ballroom"</span></a></span></b></li>
<li><b><span data-mce-style="color: #800000;" style="font-size: large;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7479" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7479"><span data-mce-style="color: #800000;">"Paul Tutmarc (1896</span></a></span><span data-mce-style="color: #800000;" style="font-size: large;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817"><span data-mce-style="color: #800000;">—</span></a></span><span data-mce-style="color: #800000;" style="font-size: large;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7479" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7479"><span data-mce-style="color: #800000;">1972) & his Audiovox Electric Guitars"</span></a></span></b></li>
<li><b><span data-mce-style="color: #800000;" style="font-size: large;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=3174" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=3174"><span data-mce-style="color: #800000;">"Woody Guthrie: His Northwest Days"</span></a></span><span data-mce-style="color: #800000;" style="font-size: large;"><span data-mce-style="color: #800000;"><br /></span></span></b></li>
<li><b><span data-mce-style="color: #800000;" style="font-size: large;"><span style="color: blue;">"</span><a data-mce-href="http://nw-music-archives.blogspot.com/2009/03/i-dreamed-i-heard-joe-hill.html" href="http://nw-music-archives.blogspot.com/2009/03/i-dreamed-i-heard-joe-hill.html"><span data-mce-style="color: #800000;">Seattle Songster, Earl Robinson, & his famous 'Joe Hill' Tune"</span></a></span></b></li>
<li><b><span data-mce-style="color: #800000;" style="font-size: large;"><a data-mce-href="http://nw-music-archives.blogspot.com/2009/11/ivar-haglund-seafood-selling-songster.html" href="http://nw-music-archives.blogspot.com/2009/11/ivar-haglund-seafood-selling-songster.html"><span data-mce-style="color: #800000;">"Ivar Haglund, The Seafood-Selling Songster (1946)"</span></a></span></b></li>
<li><b><span data-mce-style="color: #800000;" style="font-size: large;">"<a data-mce-href="http://nw-music-archives.blogspot.com/2011/09/buck-ritchey-northwest-radio-legend.html" href="http://nw-music-archives.blogspot.com/2011/09/buck-ritchey-northwest-radio-legend.html"><span data-mce-style="color: #800000;">Buck Ritchey: Northwest Country Radio Legend (1915</span></a></span><span data-mce-style="color: #800000;" style="font-size: large;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817"><span data-mce-style="color: #800000;">—</span></a></span><span data-mce-style="color: #800000;" style="font-size: large;"><a data-mce-href="http://nw-music-archives.blogspot.com/2011/09/buck-ritchey-northwest-radio-legend.html" href="http://nw-music-archives.blogspot.com/2011/09/buck-ritchey-northwest-radio-legend.html"><span data-mce-style="color: #800000;">1973)"</span></a></span><span data-mce-style="color: #800000;" style="font-size: large;"> </span></b></li>
<li><b><span data-mce-style="color: #800000;" style="font-size: large;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8656" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8656"><span data-mce-style="color: #800000;">"Bonnie Guitar: The Northwest's Trail-Blazing Pop Pioneer</span></a>"<br /> </span></b></li>
<li><b><span data-mce-style="color: #800000;" style="font-size: large;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8657" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8657"><span data-mce-style="color: #800000;">"'Sheriff Tex' Jim Lewis (1909</span></a></span><span data-mce-style="color: #800000;" style="font-size: large;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817"><span data-mce-style="color: #800000;">—</span></a></span><span data-mce-style="color: #800000;" style="font-size: large;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8657" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8657"><span data-mce-style="color: #800000;">1990)"</span></a></span></b></li>
<li><b><span data-mce-style="color: #800000;" style="font-size: large;"><span style="color: blue;">"</span><a data-mce-href="http://nw-music-archives.blogspot.com/2009/08/ultra-rare-jack-rivers-disc-1952.html" href="http://nw-music-archives.blogspot.com/2009/08/ultra-rare-jack-rivers-disc-1952.html"><span data-mce-style="color: #800000;">Jack Rivers: Seattle's 1950s Country Guitar Star"</span></a></span></b></li>
<li><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=11222" target="_blank"><b><span data-mce-style="color: #800000;" style="font-size: large;"><span data-mce-style="color: #800000;">"Hot-Rod Songs of the Northwest (1950-1960)"</span></span></b></a></li>
<li><b><span data-mce-style="color: #800000;" style="font-size: large;"><span data-mce-style="color: #800000;"><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=11221" target="_blank">"Charlie Ryan's 'Hot Rod Lincoln' hits <i>Billboard</i>'s Pop Charts in May 1960"</a></span></span></b></li>
<li><b><span style="color: black; font-size: large;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/gary-williams-spokanes-travelin-blues.html" href="http://nw-music-archives.blogspot.com/2014/12/gary-williams-spokanes-travelin-blues.html"><span data-mce-style="color: #800000;">"Gary Williams: Spokane's 'Travelin' Blues Boy" (1986)</span></a></span></b></li>
<li><a href="http://nw-music-archives.blogspot.com/2012/02/rarest-nw-records-rollie-webbers-tired.html" target="_blank"><b><span style="color: black; font-size: large;"><span data-mce-style="color: #800000;">"Rarest NW Records: Rollie Webber's 'Tired of Livin'' (1959)"</span></span></b></a></li>
<li><a href="http://nw-music-archives.blogspot.com/2014/10/the-fairmont-singers-oregons-fine_30.html" target="_blank"><b><span style="color: black; font-size: large;"><span data-mce-style="color: #800000;">"The Fairmont Singers: Oregon's Fine Folkies (1962)"</span></span></b></a></li>
<li><b><span style="font-size: large;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10384" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10384">"Alexys, Seattle folk-pop singer, opens big Beach Boys & Yardbirds concert at the Coliseum (1966)</a><span style="color: black;"> </span></span></b></li>
<li><b>
<span style="color: black; font-size: large;">
<span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-daily-flash-seattles-60s-folk-rock.html" href="http://nw-music-archives.blogspot.com/2014/12/the-daily-flash-seattles-60s-folk-rock.html">"The Daily Flash: Seattle's '60s Folk-Rock Heroes (1965</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-daily-flash-seattles-60s-folk-rock.html" href="http://nw-music-archives.blogspot.com/2014/12/the-daily-flash-seattles-60s-folk-rock.html">1967)"</a></span></span></b></li>
<li><b><span style="color: black; font-size: large;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/fat-jack-bellinghams-1st-hippie-band.html" href="http://nw-music-archives.blogspot.com/2014/12/fat-jack-bellinghams-1st-hippie-band.html">"Fat Jack: Bellingham's 1st Hippie Folk Band (1966-1968)"</a></span></b></li>
<li><b><span style="font-size: large;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10384" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10384">"Paula Tutmarc-Johnson (1950</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10384" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10384">2013): A Northwest Songster of Note"</a></span></b></li>
</ul>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-51432564459787148682014-12-21T14:56:00.003-08:002016-04-27T11:45:28.197-07:00NW MUSIC: JAZZ, R&B & SOUL<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkPzsOk6ZsNkcpxBJaPuIzhqtdQiIooErO1Iyeivc8GrkneXQMucvwHq1sQ1Xdjoy5_cNOaQQ01kQWNIn_ANwqYhronsrAQBlMA1r0DPdLhCiaiY4R7laVHFnzI7phgLKyqLrueiSguja0/s1600/400w-beaver-3-jpg.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkPzsOk6ZsNkcpxBJaPuIzhqtdQiIooErO1Iyeivc8GrkneXQMucvwHq1sQ1Xdjoy5_cNOaQQ01kQWNIn_ANwqYhronsrAQBlMA1r0DPdLhCiaiY4R7laVHFnzI7phgLKyqLrueiSguja0/s1600/400w-beaver-3-jpg.jpg" /></a><span data-mce-style="color: #800000;" style="font-size: large;"><b><span data-mce-style="color: #800000;">BELOW ARE LINKS to essays about
the history of jazz, rhythm & blues, gospel, and soul music in the Northwest. From the earliest jazz gig at Washington Hall; to the founding of the "Negro Musicians' Union;" the rise of Seattle's Jackson Street jazz scene and its stars</span></b></span><span data-mce-style="color: #800000;" style="font-size: large;"><b><span data-mce-style="color: #800000;">
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Ray Charles, Bumps Blackwell, Ernestine Anderson, & Quincy Jones; the coming of '50s R&B and doo-wop; and the emergence of a gospel tradition and a soul scene.</span></b><span data-mce-style="color: #800000;" style="font-size: large;"><b><span data-mce-style="color: #800000;">
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-</style><span style="font-family: "times new roman"; font-size: 12.0pt;"> </span>
</span></b></span><br />
<ul>
<li>
<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://nw-music-archives.blogspot.com/2010/04/washington-hall-history-19082010.html" href="http://nw-music-archives.blogspot.com/2010/04/washington-hall-history-19082010.html"><span data-mce-style="color: #800000;">"Washington Hall (1908</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817"><span data-mce-style="color: #800000;">—</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://nw-music-archives.blogspot.com/2010/04/washington-hall-history-19082010.html" href="http://nw-music-archives.blogspot.com/2010/04/washington-hall-history-19082010.html"><span data-mce-style="color: #800000;">2010)"</span></a></span></b></span></li>
<span style="font-size: large;">
<b>
</b>
</span>
<li><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10329" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10329"><span data-mce-style="color: #800000;">"The 'Negro Musicians' Union,' Seattle Local 493 (1918</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817"><span data-mce-style="color: #800000;">—</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10329" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10329"><span data-mce-style="color: #800000;">1958)"</span></a></span><span data-mce-style="color: #800000;"><span data-mce-style="color: #800000;"> </span></span></b></span></li>
<span style="font-size: large;">
<b>
</b>
</span>
<li>
<span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2013/11/the-black-hawks-seattles-legendary.html" href="http://nw-music-archives.blogspot.com/2013/11/the-black-hawks-seattles-legendary.html"><span data-mce-style="color: #800000;">"The Black Hawks: Seattle's Legendary Roaring '20s Jazz Band"</span></a></span></b></span></li>
<span style="font-size: large;">
<b>
</b>
</span>
<li>
<span style="font-size: large;"><b><span data-mce-style="color: #800000;">"<a data-mce-href="http://nw-music-archives.blogspot.com/2009/12/seattles-blind-radio-five-1925.html" href="http://nw-music-archives.blogspot.com/2009/12/seattles-blind-radio-five-1925.html"><span data-mce-style="color: #800000;">Blind Radio Five Orchestra: Seattle (1925)"</span></a></span></b></span></li>
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<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557"><span data-mce-style="color: #800000;">"Evergreen Ballroom: Olympia's Lost Landmark (1931</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817"><span data-mce-style="color: #800000;">—</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557"><span data-mce-style="color: #800000;">2000)"</span></a></span></b></span></li>
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<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10332" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10332"><span data-mce-style="color: #800000;">"'Jazz Intoxication' bill introduced to Washington State Legislature (1933)"</span></a></span></b></span></li>
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<span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/11/the-ubangi-club-seattles-hot-nitespot.html" href="http://nw-music-archives.blogspot.com/2014/11/the-ubangi-club-seattles-hot-nitespot.html"><span data-mce-style="color: #800000;">"The Ubangi Club: Seattle's Hot Nitespot (1936</span></a><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817"><span data-mce-style="color: #800000;">—</span></a></span><a data-mce-href="http://nw-music-archives.blogspot.com/2014/11/the-ubangi-club-seattles-hot-nitespot.html" href="http://nw-music-archives.blogspot.com/2014/11/the-ubangi-club-seattles-hot-nitespot.html"><span data-mce-style="color: #800000;">1938)"</span></a></span></b></span></li>
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</b>
</span>
<li>
<span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2012/09/tacoma-musicians-benefit-ball-1937.html" href="http://nw-music-archives.blogspot.com/2012/09/tacoma-musicians-benefit-ball-1937.html"><span data-mce-style="color: #800000;">"Tacoma's Musicians Benefit Ball (1937)"</span></a></span></b></span></li>
<li><span style="color: blue;"><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=11095">"Al Smith (1916-2008): Seattle's Jazz Scene Photographer"</a> </span></b></span></span></li>
<li><span style="color: blue;"><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><span style="color: black;"><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=11100">"Al Smith photo exhibit opens at MOHAI (1993)"</a></span> </span></b></span></span></li>
<li><span style="font-size: large;"><b><span style="color: black;"><span data-mce-style="color: #800000;"><a href="http://nw-music-archives.blogspot.com/2015/06/louis-jordan-rocks-seattles-new-orleans.html">"Louis Jordan rocks Seattle's New Orleans Club: 1940s"</a> </span></span></b></span></li>
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</b>
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<span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2013/12/gene-krupa-rocks-seattles-trianon.html" href="http://nw-music-archives.blogspot.com/2013/12/gene-krupa-rocks-seattles-trianon.html"><span data-mce-style="color: #800000;">"Gene Krupa Rocks Seattle's Trianon Ballroom (1946)"</span></a></span></b></span></li>
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</b>
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<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/02/jack-mcvea-his-door-openers-1946-1948.html" href="http://nw-music-archives.blogspot.com/2014/02/jack-mcvea-his-door-openers-1946-1948.html"><span data-mce-style="color: #800000;">"Jack McVea & his Door Openers (1946</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817"><span data-mce-style="color: #800000;">—</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/02/jack-mcvea-his-door-openers-1946-1948.html" href="http://nw-music-archives.blogspot.com/2014/02/jack-mcvea-his-door-openers-1946-1948.html"><span data-mce-style="color: #800000;">1948)"</span></a></span></b></span></li>
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</b>
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<li>
<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://nw-music-archives.blogspot.com/2011/04/rocking-chair-blues-1949.html" href="http://nw-music-archives.blogspot.com/2011/04/rocking-chair-blues-1949.html"><span data-mce-style="color: #800000;">"The Rocking Chair: Seattle's Fabled 1940s Nightclub"</span></a></span></b></span></li>
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</b>
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<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://nw-music-archives.blogspot.com/2011/04/rocking-chair-blues-1949.html" href="http://nw-music-archives.blogspot.com/2011/04/rocking-chair-blues-1949.html"><span data-mce-style="color: #800000;">"Ray Charles cuts his debut Record: Seattle (1948)"</span></a><span data-mce-style="color: #800000;"> </span></span></b></span></li>
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</b>
</span>
<li>
<span style="font-size: large;"><b><span data-mce-style="color: #800000;">"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10354" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10354"><span data-mce-style="color: #800000;">Quincy Jones (b. 1933)"</span></a></span><span data-mce-style="color: #800000;"> </span></b></span></li>
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</b>
</span>
<li>
<span style="font-size: large;"><b><span data-mce-style="color: #800000;">"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10356" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10356"><span data-mce-style="color: #800000;">Quincy Jones (& the Lionel Hampton Orchestra) rocks Seattle's Trianon Ballroom on August 31, 1951"</span></a></span></b></span></li>
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</b>
</span>
<li>
<span style="font-size: large;"><b><span data-mce-style="color: #800000;">"<a data-mce-href="http://nw-music-archives.blogspot.com/2009/12/cecil-youngs-bebop-jazz-seattle-1951.html" href="http://nw-music-archives.blogspot.com/2009/12/cecil-youngs-bebop-jazz-seattle-1951.html"><span data-mce-style="color: #800000;">Cecil Young's Be-bop Jazz: Seattle (1951)"</span></a></span></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10330" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10330"><span data-mce-style="color: #800000;">"The 'Negro Musicians<span data-mce-style="text-decoration: underline;" style="text-decoration: underline;">'</span> Union,' Seattle Local 493, holds benefit bash in 1951"</span></a></span><span data-mce-style="color: #800000;"><span data-mce-style="color: #800000;"> </span></span></b></span></li>
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</b>
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<li>
<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://nw-music-archives.blogspot.com/2013/09/jazzman-elmer-gill-fights-seattles.html" href="http://nw-music-archives.blogspot.com/2013/09/jazzman-elmer-gill-fights-seattles.html"><span data-mce-style="color: #800000;">"Jazzman Elmer Gill Fights Seattle's Segregation (1956)"</span></a></span></b></span></li>
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</b>
</span>
<li>
<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8520" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8520"><span data-mce-style="color: #800000;">"Ernestine Anderson: Jazz Singer"</span></a></span></b></span></li>
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</b>
</span>
<li>
<span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2013/10/the-mastersounds-jazz-combo-records-in.html" href="http://nw-music-archives.blogspot.com/2013/10/the-mastersounds-jazz-combo-records-in.html"><span data-mce-style="color: #800000;">"The Mastersounds Jazz Combo Records in Seattle (1957)"</span></a></span></b></span></li>
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</b>
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<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://nw-music-archives.blogspot.com/2013/10/rarest-nw-records-braxton-quartets.html" href="http://nw-music-archives.blogspot.com/2013/10/rarest-nw-records-braxton-quartets.html"><span data-mce-style="color: #800000;">"Rarest NW Records: the Braxton Quartet's 'White Port' (1950s)"</span></a></span></b></span></li>
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<li>
<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://nw-music-archives.blogspot.com/2009/04/seattles-groove-record-shop-1947.html" href="http://nw-music-archives.blogspot.com/2009/04/seattles-groove-record-shop-1947.html"><span data-mce-style="color: #800000;">"Seattle's Groove Record Shop (1950s)"</span></a></span></b></span></li>
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</b>
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<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7456" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7456"><span data-mce-style="color: #800000;">"Billy Tipton: Spokane's Secretive Jazzman"</span></a></span><span data-mce-style="color: #800000;"><span data-mce-style="color: #800000;"> </span></span></b></span></li>
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</b>
</span>
<li>
<span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/11/the-black-roots-of-northwest-rock-2000.html" href="http://nw-music-archives.blogspot.com/2014/11/the-black-roots-of-northwest-rock-2000.html"><span data-mce-style="color: #800000;">"The 'Black Roots' of the Original Northwest Sound"</span></a><span data-mce-style="color: #800000;"><span data-mce-style="color: #800000;"> </span></span></span></b></span></li>
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<b>
</b>
</span>
<li>
<span style="font-size: large;"><b><span data-mce-style="color: #800000;">"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9173" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9173"><span data-mce-style="color: #800000;">Richard Berry, Los Angeles R&B singer, brings 'Louie Louie' to Seattle on September 21, 1957"</span></a></span><span data-mce-style="color: #800000;"><span data-mce-style="color: #800000;"> </span></span></b></span></li>
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</b>
</span>
<li>
<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://nw-music-archives.blogspot.com/2009/12/richard-berry-1935-1997-part-i.html" href="http://nw-music-archives.blogspot.com/2009/12/richard-berry-1935-1997-part-i.html"><span data-mce-style="color: #800000;">"Richard Berry (1935</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817"><span data-mce-style="color: #800000;">—</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://nw-music-archives.blogspot.com/2009/12/richard-berry-1935-1997-part-i.html" href="http://nw-music-archives.blogspot.com/2009/12/richard-berry-1935-1997-part-i.html"><span data-mce-style="color: #800000;">1997): Part I"</span></a></span><span data-mce-style="color: #800000;"> </span></b></span></li>
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</b>
</span>
<li>
<span style="font-size: large;"><b><span data-mce-style="color: #800000;">"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8415" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8415"><span data-mce-style="color: #800000;">Birdland: Seattle's Fabled '50s R&B Hotspot"</span></a></span></b></span></li>
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</b>
</span>
<li>
<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9207" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9207"><span data-mce-style="color: #800000;">"The Barons: The Northwest's First Hit-Making '50s Teen Rock 'n' Roll Group"</span></a></span></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b>
<span data-mce-style="color: #800000;"><span data-mce-style="color: #800000;"> </span><a data-mce-href="http://nw-music-archives.blogspot.com/2009/12/four-pearls-northwest-doo-wop-1957-1960.html" href="http://nw-music-archives.blogspot.com/2009/12/four-pearls-northwest-doo-wop-1957-1960.html"><span data-mce-style="color: #800000;">"Four Pearls: Northwest Doo-Wop (1957</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817"><span data-mce-style="color: #800000;">—</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://nw-music-archives.blogspot.com/2009/12/four-pearls-northwest-doo-wop-1957-1960.html" href="http://nw-music-archives.blogspot.com/2009/12/four-pearls-northwest-doo-wop-1957-1960.html"><span data-mce-style="color: #800000;">1960)"</span></a></span></b></span></li>
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</b>
</span>
<li>
<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10331" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10331"><span data-mce-style="color: #800000;">"Two segregated musicians' unions, Seattle's AFM Locals 76 & 493, merge in 1958"</span></a></span></b></span></li>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/11/dave-lewis-seattles-1950s-r-pioneer-1983.html" href="http://nw-music-archives.blogspot.com/2014/11/dave-lewis-seattles-1950s-r-pioneer-1983.html">"Dave Lewis: Seattle's 1950s R&B Pioneer" (1983)</a> </span></b></span></li>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8684" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8684">"Dave Lewis: The Father of Northwest Rock"</a> </b></span></li>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/dave-lewis-1938-1998-tribute.html" href="http://nw-music-archives.blogspot.com/2014/10/dave-lewis-1938-1998-tribute.html">"Dave Lewis (1938—1998): A Tribute" (1998)</a></span></b></span></li>
<li><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><span data-mce-style="color: #800000;"><span style="color: black;"><a href="http://nw-music-archives.blogspot.com/2014/10/hill-2.html">"Barney Hilliard: Seattle's first Teenage R&B Sax Star"</a></span> </span></span></b></span></li>
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</b>
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<span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/thats-tough-vintage-r-of-northwest.html" href="http://nw-music-archives.blogspot.com/2014/10/thats-tough-vintage-r-of-northwest.html"><span data-mce-style="color: #800000;">"Vintage Rhythm & Blues of the Pacific Northwest," <i>DISCoveries</i> Magazine, 1990</span></a></span></b></span></li>
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</b>
</span>
<li>
<span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-great-northwest-rock-n-roll.html" href="http://nw-music-archives.blogspot.com/2014/12/the-great-northwest-rock-n-roll.html"><span data-mce-style="color: #800000;"><span data-mce-style="color: #800000;">"Northwest Rock: The Great Eruption of '59"</span></span></a></span></b></span></li>
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</b>
</span>
<li>
<span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2010/07/rock-n-roll-is-disgusting-1959.html" href="http://nw-music-archives.blogspot.com/2010/07/rock-n-roll-is-disgusting-1959.html"><span data-mce-style="color: #800000;">"Seattle Jazzers Think Rock 'n' Roll is 'Disgusting' (1959)"</span></a></span></b></span></li>
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</b>
</span>
<li>
<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8710" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8710"><span data-mce-style="color: #800000;">"The Gallahads: Seattle's '50s Doo-wop Kings"</span></a></span><span data-mce-style="color: #800000;"><span data-mce-style="color: #800000;"> </span></span></b></span></li>
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<b>
</b>
</span>
<li>
<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8705" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8705"><span data-mce-style="color: #800000;">"Ron Holden: Seattle's Sweet '60s Teen Balladeer"</span></a></span></b></span></li>
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</b>
</span>
<li>
<span style="font-size: large;"><b><span data-mce-style="color: #800000;">"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8414" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8414"><span data-mce-style="color: #800000;">Little Willie John: His Final Gigs in Seattle (1964)"</span></a></span></b></span></li>
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<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10326" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10326"><span data-mce-style="color: #800000;">"Overton Berry (b. 1936)"</span></a></span><span data-mce-style="color: #800000;"> </span></b></span></li>
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</b>
</span>
<li>
<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10325" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10325"><span data-mce-style="color: #800000;">"Overton Berry Trio starts legendary gig at Seattle's Doubletree Inn on June 28, 1969"</span></a></span><span data-mce-style="color: #800000;"><span data-mce-style="color: #800000;"> </span></span></b></span></li>
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<span style="font-size: large;"><b><span data-mce-style="color: #800000;">"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10393" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10393"><span data-mce-style="color: #800000;">Patrinell Staten's new soul 45 becomes Seattle radio hit in 1969"</span></a></span></b></span></li>
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<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10392" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10392"><span data-mce-style="color: #800000;">"Pat Wright: Seattle's Gospel Music Star"</span></a></span></b></span></li>
<li><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><span data-mce-style="color: #800000;"><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=11144" target="_blank">"Seattle JazzED: A Music Education Organization"</a> </span></span></b></span></li>
<li><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><span data-mce-style="color: #800000;"><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=11086">"Industrial Revelation: Seattle's Jazz 'Geniuses' (2014)"</a> </span></span></b></span></li>
</ul>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2064773071725543796.post-18937951379993374032014-12-21T14:50:00.002-08:002017-06-17T13:33:01.988-07:00NW MUSIC: THE GUITAR-MAKERS<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNLMtp6zRkuiltCUXrJwaVS6hMpEo34itVlY4EV43f7hVQfm3YvLgqK2d7S_RIyWRBb7b4rvTpH0nfBrpUYqmeEx-7fPIYS0O4h8HlMx0NDdTOOg_DGMliJV-1HrtD7WhmtvOHiERtSB-z/s1600/400w-tutmarc-B&W.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNLMtp6zRkuiltCUXrJwaVS6hMpEo34itVlY4EV43f7hVQfm3YvLgqK2d7S_RIyWRBb7b4rvTpH0nfBrpUYqmeEx-7fPIYS0O4h8HlMx0NDdTOOg_DGMliJV-1HrtD7WhmtvOHiERtSB-z/s1600/400w-tutmarc-B&W.jpg" /></a><span data-mce-style="color: #800000;" style="font-size: large;"><b><span data-mce-style="color: #800000;">BELOW ARE LINKS to essays about
the history of guitar-<i>making</i> and guitar-<i>instruction</i> in the Northwest. From Seattle's Otto Anderson and Port Townsend's Chris Knutsen and their lutherie shops in the 1890s; to Frank Coulter designing and building <i>wild</i> new instruments in the 'teens and '20s [essay coming soon!]; Paul Tutmarc and John Coppock both going electric in the 1930s; Seattle's remarkable franchise schools (the National Institute of Music & Arts) for kids, and onwards to Harvey Thomas' eccentric and eye-popping guitars, Dave Bunker and his visionary "Touch" guitars, and more...</span></b></span><br />
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<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8916" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8916"><span data-mce-style="color: #800000;">"Otto Anderson (1857</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817"><span data-mce-style="color: #800000;">—</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8916" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8916"><span data-mce-style="color: #800000;">1938): Seattle's Early Guitar-Maker"</span></a></span></b></span></li>
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<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7479" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7479"><span data-mce-style="color: #800000;">"Audiovox Electric Guitars"</span></a></span><span data-mce-style="color: #800000;"> </span></b></span>
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<span style="font-size: large;"><b><span data-mce-style="color: #800000;">"<a data-mce-href="http://www.vintageguitar.com/1916/audiovox-electronic-bass/" href="http://www.vintageguitar.com/1916/audiovox-electronic-bass/"><span data-mce-style="color: #800000;">Audiovox: The World’s <i>First</i> Electric Bass Guitar Is Discovered!"</span></a></span></b></span>
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<span style="font-size: large;"><b><span data-mce-style="color: #800000;">"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9160" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9160"><span data-mce-style="color: #800000;">John Coppock & his Deluxe Electric Guitars (1934—1958)"</span></a></span><span data-mce-style="color: #800000;"> </span></b></span>
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<span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2009/10/john-coppocks-hawaiian-band-1927.html" href="http://nw-music-archives.blogspot.com/2009/10/john-coppocks-hawaiian-band-1927.html"><span data-mce-style="color: #800000;">"John Coppock & his Hawaiian Band (1927)"</span></a><span data-mce-style="color: #800000;"><span data-mce-style="color: #800000;"> </span></span></span></b></span>
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<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9077" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9077"><span data-mce-style="color: #800000;">"John Coppock, Peshastin's Star Guitarist, Returns from Hollywood for Hometown Concert in 1927"</span></a></span><span data-mce-style="color: #800000;"><span data-mce-style="color: #800000;"> </span></span></b></span>
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<span style="font-size: large;"><span style="font-size: small;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10311" href="https://www.blogger.com/null"><span data-mce-style="color: #800000;">"Coppock Guitars: Rarities from the Pacific Northwest"</span></a></span></b><b><span data-mce-style="color: #800000;"><span data-mce-style="color: #800000;"> </span></span></b></span></span></li>
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<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10311" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10311"><span data-mce-style="color: #800000;">"Seattle's National Institute of Music & Arts [NIOMA] (1932</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817"><span data-mce-style="color: #800000;">—</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10311" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10311"><span data-mce-style="color: #800000;">1955)"</span></a></span></b></span></li>
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<li><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10310" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10310"><span data-mce-style="color: #800000;">"NIOMA's "Open Air Musical Festival" wows Seattle crowd (1933)"</span></a></span></b></span>
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<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817"><span data-mce-style="color: #800000;">"Harvey Hansen & his Hanburt Electric Guitars (1939—1950)"</span></a></span></b></span>
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<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10304" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10304"><span data-mce-style="color: #800000;">"Harvey Thomas (1920-1987): Maker of Electrifying Custom Guitars"</span></a></span></b></span>
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<span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10305" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10305"><span data-mce-style="color: #800000;">"<i>The Seattle Daily Times</i> features Harvey Thomas's eccentric and obscure guitar-making company on September 21, 1969"</span></a></span></b></span>
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<span style="font-size: large;"><b><span data-mce-style="color: #800000;">"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10454" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10454"><span data-mce-style="color: #800000;">Dave Bunker files Patent Application for his Unique Electric Guitar (1957)"</span></a></span></b></span>
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<span style="font-size: large;"><b><span data-mce-style="color: #800000;">"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10453" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10453"><span data-mce-style="color: #800000;">Dave Bunker & his Mind-Blowingly Unique Electric Guitars (1955</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817"><span data-mce-style="color: #800000;">—</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10453" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10453"><span data-mce-style="color: #800000;">2013)"</span></a></span></b></span></li>
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</ul>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-6682171145143746202014-12-21T14:48:00.005-08:002016-07-12T09:25:25.560-07:00NW MUSIC: STUDIOS & LABELS<h6>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRQx_uRRQyXFwZe53rYv-8WbgN5-AycoWVZ7BwjRNSWdNYdYvNoAk5345fYiza4v0y6uReWp7NT_a_IYzR4f9c5Y_L_cU6BX1XsvXBvT-0YZ2PENFPll9ImQMWbe6VHbD9aUh3Npl5yBXH/s1600/600w-Barton-1960s.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRQx_uRRQyXFwZe53rYv-8WbgN5-AycoWVZ7BwjRNSWdNYdYvNoAk5345fYiza4v0y6uReWp7NT_a_IYzR4f9c5Y_L_cU6BX1XsvXBvT-0YZ2PENFPll9ImQMWbe6VHbD9aUh3Npl5yBXH/s1600/600w-Barton-1960s.jpg" width="400" /></a><span data-mce-style="color: #800000;" style="font-size: large;"><b><span data-mce-style="color: #800000;">BELOW ARE LINKS to essays about
the history of audio-recording & record companies in the Northwest. From the first field trips here by outside companies seeking to record local talents back during the Roaring '20s; to the founding of early homegrown studios and pioneering record companies; to notable early regional radio hits and singing stars; the rise of legendary sound engineers like Joe Boles and Kearney Barton; and the back-stories of numerous successful local labels.</span></b></span></h6>
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<span style="color: blue;"><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://nw-music-archives.blogspot.com/2013/05/the-1st-record-ever-cut-in-seattle-1923.html" href="http://nw-music-archives.blogspot.com/2013/05/the-1st-record-ever-cut-in-seattle-1923.html"><span data-mce-style="color: #800000;">"Vic Meyers' 'Shake It...' Seattle's First Record (1923)"</span></a></span></b></span></span></li>
<li><span style="color: blue;"><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><span data-mce-style="color: #800000;"><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=11225" target="_blank">"Columbia Phonograph Co. records Local Musicians in Spokane (1927) </a></span></span></b></span></span></li>
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<span style="color: blue;"><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><span style="color: black;">"</span><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8946" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8946"><span data-mce-style="color: #800000;">Recording Studios of the Pacific Northwest (1940</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817"><span data-mce-style="color: #800000;">—</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8946" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8946"><span data-mce-style="color: #800000;">1960s)"</span></a></span></b></span></span></li>
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<span style="color: blue;"><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7548" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7548"><span data-mce-style="color: #800000;">"'Morrie' & Alice Morrison: Northwest Music Industry Pioneers"</span></a></span></b></span></span></li>
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<span style="color: blue;"><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7772" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7772"><span data-mce-style="color: #800000;">"Linden Records: Seattle’s 'Lost' Post-War Music Company"</span></a></span></b></span></span></li>
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<span style="color: blue;"><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/03/aragon-recording-studios-vern-mallory.html" href="http://nw-music-archives.blogspot.com/2014/03/aragon-recording-studios-vern-mallory.html"><span data-mce-style="color: #800000;">"Aragon Recording Studios & the Vern Mallory Orchestra (1944</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817"><span data-mce-style="color: #800000;">—</span></a></span><span data-mce-style="color: #800000;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/03/aragon-recording-studios-vern-mallory.html" href="http://nw-music-archives.blogspot.com/2014/03/aragon-recording-studios-vern-mallory.html"><span data-mce-style="color: #800000;">1945)"</span></a></span></b></span></span></li>
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<a data-mce-href="http://nw-music-archives.blogspot.com/2012/10/the-seattle-song-1952.html" href="http://nw-music-archives.blogspot.com/2012/10/the-seattle-song-1952.html"><span data-mce-style="color: #800000;">"The 'Seattle Song' (1952)"</span></a></b></span></span></li>
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<span style="color: blue;"><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><span style="color: black;">"</span><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8924" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8924"><span data-mce-style="color: #800000;">Joe Boles: Seattle's First Hit-Making Audio Engineer"</span></a></span></b></span></span></li>
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<span style="color: blue;"><span style="font-size: large;"><b><a data-mce-href="http://nw-music-archives.blogspot.com/2013/10/the-mastersounds-jazz-combo-records-in.html" href="http://nw-music-archives.blogspot.com/2013/10/the-mastersounds-jazz-combo-records-in.html"><span data-mce-style="color: #800000;">"The Mastersounds Jazz Combo Records in Seattle (1957)"</span></a></b></span></span></li>
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<span style="color: blue;"><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8719" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8719"><span data-mce-style="color: #800000;">"Kearney Barton: The Man Who Engineered the 'Northwest Sound'"</span></a></span></b></span></span></li>
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<span style="color: blue;"><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7636" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7636"><span data-mce-style="color: #800000;">"Dolton: The Northwest's First Rock 'n' Roll Record Company"</span></a></span></b></span></span></li>
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<span style="color: blue;"><span style="font-size: large;"><b><a data-mce-href="http://nw-music-archives.blogspot.com/2011/11/mr-blue-first-nw-sampler-lp-1959.html" href="http://nw-music-archives.blogspot.com/2011/11/mr-blue-first-nw-sampler-lp-1959.html"><span data-mce-style="color: #800000;">"The Northwest's 1st 'Sampler Album' (1959)"</span></a></b></span></span></li>
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<span style="color: blue;"><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8459" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8459"><span data-mce-style="color: #800000;">"Seafair Records: Seattle's Swingin' '60s Music Company"</span></a></span></b></span></span></li>
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<span style="color: blue;"><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8568" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8568"><span data-mce-style="color: #800000;">"Nite Owl Records & Everett's '50s R&B Stars: The Shades"</span></a></span></b></span></span></li>
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<li>
<span style="color: blue;"><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><span style="color: black;">"</span><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8441" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8441"><span data-mce-style="color: #800000;">Jerden Records: When the Seattle Music Biz Got Serious"</span></a></span></b></span></span></li>
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<li>
<span style="color: blue;"><span style="font-size: large;"><b><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/the-history-of-nw-rock-vol-i-original.html" href="http://nw-music-archives.blogspot.com/2014/10/the-history-of-nw-rock-vol-i-original.html"><span data-mce-style="color: #800000;">"<i>The History of Northwest Rock: Vol. 1</i>"</span></a><span data-mce-style="color: #800000;"> </span></b></span></span></li>
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<li>
<span style="color: blue;"><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8947" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8947"><span data-mce-style="color: #800000;">"Etiquette Rules! The Northwest's Reigning '60s Garage-Rock Record Company"</span></a></span></b></span></span></li>
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<li>
<span style="color: blue;"><span style="font-size: large;"><b><span data-mce-style="color: #800000;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/rock-n-soul-seattle-sounds-of-60s-2009.html" href="http://nw-music-archives.blogspot.com/2014/10/rock-n-soul-seattle-sounds-of-60s-2009.html"><span data-mce-style="color: #800000;">"Camelot Records: Seattle's 'Lost' Label of the 1960s"</span></a></span></b></span></span></li>
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<li>
<span style="color: blue;"><span style="font-size: large;"><b><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/the-history-of-nw-rock-vol-2-garage.html" href="http://nw-music-archives.blogspot.com/2014/10/the-history-of-nw-rock-vol-2-garage.html"><span data-mce-style="color: #800000;">"<i>The History of Northwest Rock, Vol. 2: The Garage Years</i>"</span></a><span data-mce-style="color: #800000;"> </span></b></span></span></li>
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<li><span style="color: blue;"><span style="font-size: large;"><b>
</b></span></span><span style="color: black;"><span style="color: blue;"><span style="font-size: large;"><b><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/the-history-of-nw-rock-vol-3.html" href="http://nw-music-archives.blogspot.com/2014/10/the-history-of-nw-rock-vol-3.html"><span data-mce-style="color: #800000;">"<i>The History of Northwest Rock, Vol. 3: Psychedelic Seattle</i>"</span></a></b></span></span><span data-mce-style="color: #800000;"><b><span data-mce-style="color: #800000;"> </span></b></span></span></li>
</ul>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2064773071725543796.post-83718009268089005002014-12-21T14:40:00.002-08:002017-08-06T09:19:57.273-07:00NW MUSIC: ROCK 'N' ROLL<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSpW0BNcOT2jhoC0Rh5LG5yjfQf1aFxeIPLLsH_tKeTaVlckhNmpzwY8iJ9yXYl9ngIiepg_qdXz4OVxKe9o8N4sauXltPqEbGzAzM2B52BGITOGomfqGw2N75Pf4jXGSUWNffjF42UmNK/s1600/600w-corvettes.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSpW0BNcOT2jhoC0Rh5LG5yjfQf1aFxeIPLLsH_tKeTaVlckhNmpzwY8iJ9yXYl9ngIiepg_qdXz4OVxKe9o8N4sauXltPqEbGzAzM2B52BGITOGomfqGw2N75Pf4jXGSUWNffjF42UmNK/s1600/600w-corvettes.jpg" width="400" /></a><span data-mce-style="color: #800000;" style="font-size: large;"><b><span data-mce-style="color: #800000;">BELOW ARE LINKS to </span></b></span><span data-mce-style="color: #800000;" style="font-size: large;"><b><span data-mce-style="color: #800000;">chronologically ordered </span></b></span><span data-mce-style="color: #800000;" style="font-size: large;"><b><span data-mce-style="color: #800000;">essays about
the history of local rock 'n' roll, rockin'-R&B, doo-wop, rockabilly, <i>Seattle Bandstand</i>, "Louie, Louie," the original "Northwest Sound," teen-dances, Top-40 radio, pop, music at Seattle's 1962 World's Fair, folk-rock, psychedelia, blues, punk, New Wave, grunge, and more... </span></b></span><br />
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<ul>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/11/the-black-roots-of-northwest-rock-2000.html" href="http://nw-music-archives.blogspot.com/2014/11/the-black-roots-of-northwest-rock-2000.html">"The 'Black Roots' of the Original Northwest Sound"</a> </span></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b>"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8415" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8415">Birdland: Seattle's Fabled '50s R&B Hotspot"</a></b></span></li>
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</b>
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<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9207" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9207">"The Barons: The Northwest's First Hit-Making '50s Teen Rock 'n' Roll Group"</a></b></span></li>
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<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/11/dave-lewis-seattles-1950s-r-pioneer-1983.html" href="http://nw-music-archives.blogspot.com/2014/11/dave-lewis-seattles-1950s-r-pioneer-1983.html">"Dave Lewis: Seattle's 1950s R&B Pioneer" (1983)</a> </span></b></span></li>
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<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8684" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8684">"Dave Lewis: The Father of Northwest Rock"</a> </b></span></li>
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</b>
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<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/dave-lewis-1938-1998-tribute.html" href="http://nw-music-archives.blogspot.com/2014/10/dave-lewis-1938-1998-tribute.html">"Dave Lewis (1938—1998): A Tribute" (1998)</a></span></b></span></li>
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<li><span style="font-size: large;"><b><a data-mce-href="http://nw-music-archives.blogspot.com/2014/06/barney-hilliard-seattles-1950s-teenaged.html" href="http://nw-music-archives.blogspot.com/2014/06/barney-hilliard-seattles-1950s-teenaged.html">"Barney Hilliard: Seattle's First Teenage R&B Sax Star"</a></b></span></li>
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<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557">"Evergreen Ballroom: Olympia's Lost Landmark (1931</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9557">2000)"</a></b></span></li>
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<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9173" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9173">"'Louie Louie' makes Seattle Debut at September 21, 1957 Eagles Hall Dance"</a></b></span></li>
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<li><span style="font-size: large;"><b><a data-mce-href="http://nw-music-archives.blogspot.com/2009/12/richard-berry-1935-1997-part-i.html" href="http://nw-music-archives.blogspot.com/2009/12/richard-berry-1935-1997-part-i.html">"Richard Berry (1935</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://nw-music-archives.blogspot.com/2009/12/richard-berry-1935-1997-part-i.html" href="http://nw-music-archives.blogspot.com/2009/12/richard-berry-1935-1997-part-i.html">1997): Part I"</a></b></span></li>
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</b>
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<li><span style="font-size: large;"><b>"'<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=5206" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=5206">Louie Louie': The Saga of a Northwest Hit Song"</a> </b></span></li>
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<li><span style="font-size: large;"><b><a data-mce-href="http://seattletimes.nwsource.com/html/entertainment/2003643550_louietimeline01.html" href="http://seattletimes.nwsource.com/html/entertainment/2003643550_louietimeline01.html">"'Louie Louie' Through the Ages"</a> </b></span></li>
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<li><span style="font-size: large;"><b>"<a data-mce-href="http://community.seattletimes.nwsource.com/archive/?date=20070401&slug=louie01" href="http://community.seattletimes.nwsource.com/archive/?date=20070401&slug=louie01">Garage Rock Anthem ‘Louie Louie’ Turns 50"</a></b></span></li>
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</b>
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<li><span style="font-size: large;"><b><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/the-50s-rockabilly-invasion-of.html" href="http://nw-music-archives.blogspot.com/2014/10/the-50s-rockabilly-invasion-of.html">"The 1950s Rockabilly Invasion of the Northwest"</a> </b></span></li>
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<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/rockin-party-nw-rockabilly-discoveries.html" href="http://nw-music-archives.blogspot.com/2014/10/rockin-party-nw-rockabilly-discoveries.html">"Rockin' Party: Northwest Rockabilly" (1990)</a> </span></b></span></li>
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<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/11/clayton-watson-northwest-50s-rockabilly.html" href="http://nw-music-archives.blogspot.com/2014/11/clayton-watson-northwest-50s-rockabilly.html">"Clayton Watson: Northwest '50s Rockabilly Pioneer" (1983)</a></span></b></span></li>
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<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-maddy-brothers-country-rockabilly.html" href="http://nw-music-archives.blogspot.com/2014/12/the-maddy-brothers-country-rockabilly.html">"The Maddy Brothers: Country / Rockabilly Cats (1954</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-maddy-brothers-country-rockabilly.html" href="http://nw-music-archives.blogspot.com/2014/12/the-maddy-brothers-country-rockabilly.html">1965)"</a></span></b></span></li>
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</b>
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<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/little-bill-and-bluenotes-tacomas-teen.html" href="http://nw-music-archives.blogspot.com/2014/12/little-bill-and-bluenotes-tacomas-teen.html">"Little Bill and the Bluenotes: Tacoma's Teen-R&B Pioneers (1958-1960)"</a></span></b></span></li>
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</b>
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<li><span style="font-size: large;"><b>"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9217" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9217">Rockin' Robin Roberts (1940</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9217" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9217">1967): Tacoma's Legendary Rock 'n' Roller"</a> </b></span></li>
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<li><span style="font-size: large;"><b>"<a data-mce-href="http://nw-music-archives.blogspot.com/2009/11/rockin-robin-roberts-rip-2009.html" href="http://nw-music-archives.blogspot.com/2009/11/rockin-robin-roberts-rip-2009.html">Rockin' Robin Roberts: R.I.P."</a></b></span></li>
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<li><span style="font-size: large;"><b>"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8924" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8924">Joe Boles: Seattle's First Hit-Making Audio Engineer"</a></b></span></li>
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<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7636" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7636">"Dolton: The Northwest's First Rock 'n' Roll Record Company"</a></b></span> </li>
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<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/11/the-frantics-seattles-top-teenage-50s.html" href="http://nw-music-archives.blogspot.com/2014/11/the-frantics-seattles-top-teenage-50s.html">"The Frantics: Seattle's Top Teenage '50s Band" (1984)</a> </span></b></span></li>
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<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8710" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8710">"The Gallahads: Seattle's '50s Doo-wop Kings"</a></b></span></li>
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<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2011/11/mr-blue-first-nw-sampler-lp-1959.html" href="http://nw-music-archives.blogspot.com/2011/11/mr-blue-first-nw-sampler-lp-1959.html">"The Northwest's 1st 'Sampler Album' (1959)"</a></span></b></span></li>
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<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-great-northwest-rock-n-roll.html" href="http://nw-music-archives.blogspot.com/2014/12/the-great-northwest-rock-n-roll.html">"Northwest Rock: The Great Eruption of '59"</a></span></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://nw-music-archives.blogspot.com/search?updated-max=2010-03-22T13%3A59%3A00-07%3A00&max-results=7" href="http://nw-music-archives.blogspot.com/search?updated-max=2010-03-22T13%3A59%3A00-07%3A00&max-results=7">"'High School USA' (Seattle / Portland) (1959)"</a></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b>"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8430" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8430"><i>Seattle Bandstand</i> debuts on KING-TV on March 16, 1958"</a> </b></span></li>
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</b>
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<li><span style="font-size: large;"><b>"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8434" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8434">Seattle Bandstand (1958</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8434" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8434">1961)"</a></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b>"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=3826" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=3826">The Spanish Castle Ballroom"</a></b></span></li>
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</b>
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<li><span style="font-size: large;"><b>"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=3827" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=3827">Parker’s Ballroom"</a></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8568" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8568">"Nite Owl Records & Everett's '50s R&B Stars: The Shades"</a></b></span></li>
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</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8705" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8705">"Ron Holden: Seattle's Sweet '60s Teen Balladeer"</a></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b>"<a data-mce-href="http://nw-music-archives.blogspot.com/2010/01/lola-sugias-blue-tears-1960.html" href="http://nw-music-archives.blogspot.com/2010/01/lola-sugias-blue-tears-1960.html">Lola Sugia's "Blue Tears" 45 (1960)"</a> </b></span></li>
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</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/11/the-swags-bellingams-first-rockstars.html" href="http://nw-music-archives.blogspot.com/2014/11/the-swags-bellingams-first-rockstars.html">"The Swags: Bellingham's First Rockstars (1958</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://nw-music-archives.blogspot.com/2014/11/the-swags-bellingams-first-rockstars.html" href="http://nw-music-archives.blogspot.com/2014/11/the-swags-bellingams-first-rockstars.html">1960)"</a></span></b></span></li>
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<b>
</b>
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8459" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8459">"Seafair Records: Seattle's Swingin' '60s Music Company"</a></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=2498" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=2498">"Jimi Hendrix (1942</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=2498" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=2498">1970)"</a></b></span> </li>
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<b>
</b>
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8719" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8719">"Kearney Barton: The Man Who Engineered the 'Northwest Sound'"</a> </b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8656" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8656">"Bonnie Guitar: The Northwest's Trail-Blazing Pop Pioneer</a>"</b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=3130" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=3130">"Pat O’Day: The Godfather of Northwest Rock?"</a></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/07/the-checkers-yakimas-rockers-1958-1962.html" href="http://nw-music-archives.blogspot.com/2014/07/the-checkers-yakimas-rockers-1958-1962.html">"The Checkers: Yakima's Rockers (1958</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://nw-music-archives.blogspot.com/2014/07/the-checkers-yakimas-rockers-1958-1962.html" href="http://nw-music-archives.blogspot.com/2014/07/the-checkers-yakimas-rockers-1958-1962.html">1962)"</a></span></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b> <a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7490" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=7490">"Inland Empire Rock: The Sound of Eastern Washington"</a> </b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/11/the-dynamics-north-seattles-top-60s.html" href="http://nw-music-archives.blogspot.com/2014/11/the-dynamics-north-seattles-top-60s.html">"The Dynamics: North Seattle's Top '60s Teen-R&B Band (1959</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://nw-music-archives.blogspot.com/2014/11/the-dynamics-north-seattles-top-60s.html" href="http://nw-music-archives.blogspot.com/2014/11/the-dynamics-north-seattles-top-60s.html">1968)"</a> </span></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b> <span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-fabulous-chancellors-boises-rocker.html" href="http://nw-music-archives.blogspot.com/2014/12/the-fabulous-chancellors-boises-rocker.html">"The Fabulous Chancellors: Boise's Rocker Boys (1961</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-fabulous-chancellors-boises-rocker.html" href="http://nw-music-archives.blogspot.com/2014/12/the-fabulous-chancellors-boises-rocker.html">1965)"</a> </span></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b>"<a data-mce-href="http://etcetera-archive.blogspot.com/2009/12/joe-johansen-obituary-rip-1997.html" href="http://etcetera-archive.blogspot.com/2009/12/joe-johansen-obituary-rip-1997.html">Farewell to Northwest Blues Giant, Joe Johansen" (1997)</a></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10374" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10374">"Nancy Claire: The First Lady of Northwest Rock"</a></b></span></li>
<li><span style="font-size: large;"><b><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=11159" target="_blank">"Merrilee Rush: The Angel of The Morning"</a></b></span></li>
<li><span style="font-size: large;"><b><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=11160" target="_blank">"Merrilee Rush's Biggest Hit enters <i>Billboard</i> Charts on May 4, 1968" </a> </b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b>"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9255" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9255">Century 21 Expo (1962): Twist Party Celebrates Seattle World's Fair Opening"</a></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b>"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9377" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9377">Century 21 Expo: Saturday Night Dances debut on June 28, 1962"</a> </b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b>"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9364" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9364">Century 21 Expo: Elvis Presley's arrival in Seattle draws throngs on September 5, 1962"</a> </b></span></li>
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<b>
</b>
</span>
<li><span style="font-size: large;"><b>"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9363" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9363">Century 21 Expo (1962) Seattle's September Days with Elvis Presley"</a></b></span></li>
<li><span style="font-size: large;"><b><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=11153" target="_blank">"Lake Hills - Bellevue's Rockin' Roller Rink (1963-1980s)"</a> </b></span> </li>
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<b>
</b>
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-counts-ballards-best-r-band-1958.html" href="http://nw-music-archives.blogspot.com/2014/12/the-counts-ballards-best-r-band-1958.html">"The Counts: Ballard's Best R&B Band (1958</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-counts-ballards-best-r-band-1958.html" href="http://nw-music-archives.blogspot.com/2014/12/the-counts-ballards-best-r-band-1958.html">1966)"</a></span></b></span></li>
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<b>
</b>
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-moonlight-marauders-chance-eden.html" href="http://nw-music-archives.blogspot.com/2014/12/the-moonlight-marauders-chance-eden.html">"Chance Eden: Port Angeles' '60s Singing Star"<span style="color: black;"> </span>(1985)</a></span></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b>"<a data-mce-href="http://etcetera-archive.blogspot.com/2009/12/tom-ogilvy-obituary-rip-2000.html" href="http://etcetera-archive.blogspot.com/2009/12/tom-ogilvy-obituary-rip-2000.html">Tom Ogilvy, Seattle's <i>Original</i> 'Record Man' (R.I.P. 2000)"</a></b></span></li>
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<b>
</b>
</span>
<li><span style="font-size: large;"><b>"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8441" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8441">Jerden Records: When the Seattle Music Biz Got Serious"</a> </b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/the-history-of-nw-rock-vol-i-original.html" href="http://nw-music-archives.blogspot.com/2014/10/the-history-of-nw-rock-vol-i-original.html">"<i>The History of Northwest Rock: Vol. 1</i> (CD Liner Notes)</a></span></b></span> </li>
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</b>
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="https://www.blogger.com/blogger.g?blogID=2064773071725543796#editor/target=post;postID=5299491190807230398;onPublishedMenu=allposts;onClosedMenu=allposts;postNum=3;src=link" href="https://www.blogger.com/blogger.g?blogID=2064773071725543796#editor/target=post;postID=5299491190807230398;onPublishedMenu=allposts;onClosedMenu=allposts;postNum=3;src=link">"<i>Battle of the Bands Vol. I"</i> <span style="color: black;">(</span>CD Liner Notes<span style="color: black;"><span style="color: blue;">,</span> </span>2001)</a></span></b></span></li>
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<b>
</b>
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-viceroys-seattle-rock-royalty-1958.html" href="http://nw-music-archives.blogspot.com/2014/12/the-viceroys-seattle-rock-royalty-1958.html">"The Viceroys: Seattle Rock Royalty (1958</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-viceroys-seattle-rock-royalty-1958.html" href="http://nw-music-archives.blogspot.com/2014/12/the-viceroys-seattle-rock-royalty-1958.html">1966)"</a></span></b></span></li>
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<b>
</b>
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-raymarks-bremertons-rockin-roots.html" href="http://nw-music-archives.blogspot.com/2014/12/the-raymarks-bremertons-rockin-roots.html">"The Raymarks & Bremerton's Rockin' Roots (1960</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-raymarks-bremertons-rockin-roots.html" href="http://nw-music-archives.blogspot.com/2014/12/the-raymarks-bremertons-rockin-roots.html">1966)"</a></span></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-beachcombers-hoquiam-aberdeens-1st.html" href="http://nw-music-archives.blogspot.com/2014/12/the-beachcombers-hoquiam-aberdeens-1st.html">"The Beachcombers: Aberdeen / Hoquiam's 1st Rockers" (1986)</a></span></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://nw-music-archives.blogspot.com/2011/01/beatles-in-seattle-1964.html" href="http://nw-music-archives.blogspot.com/2011/01/beatles-in-seattle-1964.html">"The Beatles in Seattle (1964)"</a></b></span></li>
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</b>
<b>
</b>
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8947" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8947">"Etiquette Rules! The Northwest's Reigning '60s Garage-Rock Record Company"</a></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8953" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8953">"Jini Dellaccio: Iconic Photographer of Northwest Musical Icons"</a></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/the-history-of-nw-rock-vol-2-garage.html" href="http://nw-music-archives.blogspot.com/2014/10/the-history-of-nw-rock-vol-2-garage.html">"<i>The History of Northwest Rock, Vol. 2: The Garage Years</i> (CD Liner Notes)</a></span></b></span> </li>
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</b>
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/11/the-kingsmen-best-of-featuring.html" href="http://nw-music-archives.blogspot.com/2014/11/the-kingsmen-best-of-featuring.html">"The Kingsmen: <i>Best of, featuring 'Louie, Louie</i>'" (LP liner notes, 1988)</a></span></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8844" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8844">"The Sonics: Tacoma's '60s Garage-Rock Teen Titans"</a> </b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/the-ultimate-sonics-1990.html" href="http://nw-music-archives.blogspot.com/2014/10/the-ultimate-sonics-1990.html">"The Sonics: <i>The Ultimate Sonics</i> (CD Liner Notes, 1990)</a> </b></span></li>
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</b>
</span>
<li><span style="color: blue;"><span style="font-size: large;"><b><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/the-sonics-maintaining-my-cool-1991.html" href="http://nw-music-archives.blogspot.com/2014/10/the-sonics-maintaining-my-cool-1991.html">"The Sonics: <i>Maintaining My Cool" </i>(CD Liner Notes, 1991)</a> </b></span></span></li>
<span style="color: blue;">
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</b>
</span>
</span>
<li><span style="color: blue;"><span style="font-size: large;"><b><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/the-sonics-busy-body-live-in-tacoma.html" href="http://nw-music-archives.blogspot.com/2014/10/the-sonics-busy-body-live-in-tacoma.html">"The Sonics: <i>Live In Tacoma 1964</i> (CD Liner Notes, 1997)</a></b></span></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://nw-music-archives.blogspot.com/2010/05/bards-british-invasion-days-1966.html" href="http://nw-music-archives.blogspot.com/2010/05/bards-british-invasion-days-1966.html">"The Bards' 'British Invasion' Days (1966)"</a></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="%20"The Bootmen: Olympia's Baddest '60s Band" (1984)" href="http://nwmusicarchives.com/wp-admin/%20%22The%20Bootmen:%20Olympia%27s%20Baddest%20%2760s%20Band%22%20%281984%29">"The Bootmen: Olympia's Baddest '60s Band" (1984)</a></span></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-daily-flash-seattles-60s-folk-rock.html" href="http://nw-music-archives.blogspot.com/2014/12/the-daily-flash-seattles-60s-folk-rock.html">"The Daily Flash: Seattle's '60s Folk-Rock Heroes (1965</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/the-daily-flash-seattles-60s-folk-rock.html" href="http://nw-music-archives.blogspot.com/2014/12/the-daily-flash-seattles-60s-folk-rock.html">1967)"</a> </span></b></span></li>
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<b>
</b>
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10376" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10376">"Alexys, Seattle folk-pop singer, opens big Beach Boys & Yardbirds concert at the Coliseum (1966)"</a></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10384" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10384">"Paula Tutmarc-Johnson (1950</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8817">—</a><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10384" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10384">2013): A Northwest Songster of Note"</a></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b>"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9208" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9208">Rockin' Robin Roberts, former singer with Tacoma rock band, the Wailers, dies in an automobile accident on December 22, 1967"</a></b></span> </li>
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</b>
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/the-history-of-nw-rock-vol-3.html" href="http://nw-music-archives.blogspot.com/2014/10/the-history-of-nw-rock-vol-3.html">"<i>The History of Northwest Rock, Vol. 3: Psychedelic Seattle</i>" (CD Liner Notes)</a> </span></b></span></li>
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</b>
</span>
<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/easy-chair-seattles-60s-psychedelic-sons.html" href="http://nw-music-archives.blogspot.com/2014/12/easy-chair-seattles-60s-psychedelic-sons.html">"Easy Chair: Seattle's '60s Psychedelic Sons" (1986)</a> </span></b></span></li>
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<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/12/fat-jack-bellinghams-1st-hippie-band.html" href="http://nw-music-archives.blogspot.com/2014/12/fat-jack-bellinghams-1st-hippie-band.html">"Fat Jack: Bellingham's 1st Hippie Folk Band (1966-1968)"</a></span></b></span></li>
<li><span style="font-size: large;"><b><span style="color: black;"><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=11154" target="_blank">"Lake Hills Roller Rink burns after dance on July 30, 1968" </a></span></b></span></li>
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<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9232" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=9232">"Led Zeppelin rocks Seattle's Green Lake Aqua Theatre on May 11, 1969"</a></b></span></li>
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<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8942" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=8942">"It's A Beautiful Day's Seattle-penned song, "White Bird," hits the <i>Billboard</i> charts on October 4, 1969."</a></b></span></li>
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<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10106" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10106">"Northwest Rock: The Reunion Concert of '72"</a></b></span></li>
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<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10375" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10375">"Northwest Rock: The 'Great NW Rock and Roll Show' of '80"</a> </b></span></li>
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<li><span style="font-size: large;"><b>"<a data-mce-href="http://nw-music-archives.blogspot.com/2009/02/seattles-1st-punks-1976.html" href="http://nw-music-archives.blogspot.com/2009/02/seattles-1st-punks-1976.html">Punks Rock: Seattle's First DIY Show (1976)"</a></b></span></li>
<li><span style="font-size: large;"><b><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=11180">"Iggy Pop & David Bowie Rock The Paramount (1977)"</a> </b></span></li>
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<li><span style="font-size: large;"><b>"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=3684" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=3684">The Showbox Theater: Seattle’s Musical Landmark"</a></b></span></li>
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<li><span style="font-size: large;"><b>"<a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10628" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10628">Bruce Springsteen Rocks Seattle's Old Timers' Cafe with Tavern Band (1980)"</a></b></span></li>
<li><span style="font-size: large;"><b><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=11049" target="_blank">"Same Love: A Brief History of Quer Musicians in the Northwest"</a> </b></span></li>
<li><span style="font-size: large;"><b><a href="http://nw-music-archives.blogspot.com/2015/07/sweet-madness-spokanes-lost-new-wave.html">"Sweet Madness: Spokane's Lost New Wave Kings (1978-1981)"</a> </b></span></li>
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<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/the-squirrels-scrapin-for-hits-1996.html" href="http://nw-music-archives.blogspot.com/2014/10/the-squirrels-scrapin-for-hits-1996.html">"The Squirrels: <i>Scrapin' For Hits</i> CD Liner Notes" (1996)</a></span></b></span></li>
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<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10720" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10720">"Neil Young's iconic anthem 'Rockin' In The Free World' makes its public debut in Seattle Con</a></b></span></li>
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<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2009/10/boxing.html" href="http://nw-music-archives.blogspot.com/2009/10/boxing.html">"The Dawn of Grunge Rock" (1988)</a> </span></b></span></li>
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<li><span style="font-size: large;"><b><a data-mce-href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10378" href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=10378">"Nirvana places 'Drummer Wanted' classified ad in <i>The Rocket </i>magazine (May 1988)"</a></b></span></li>
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<li><span style="font-size: large;"><b><span style="color: black;"><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/louder-than-heck-northwest-now.html" href="http://nw-music-archives.blogspot.com/2014/10/louder-than-heck-northwest-now.html">"Louder Than Heck: Grunge Rock's Beginnings," <i>DISCoveries</i> Magazine (1990)</a></span></b></span></li>
<li><span style="font-size: large;"><b><span style="color: black;"><a href="http://www.historylink.org/File/20421" target="_blank">"Kurt Cobain (1967-1994): The Northwest Rock 'n' Roll Icon" </a></span></b></span></li>
<li><span style="font-size: large;"><b><span style="color: black;"><a href="http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=11002">"Nirvana debuts new song, 'Smells Like Teen Spirit,' at Seattle OK Hotel on April 17, 1991</a>" </span></b></span></li>
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<li><span style="font-size: large;"><b><a data-mce-href="http://nw-music-archives.blogspot.com/2014/10/the-fabulous-hammers-pikesville-2009.html" href="http://nw-music-archives.blogspot.com/2014/10/the-fabulous-hammers-pikesville-2009.html">"Fabulous Hammers: <i>Pikesville</i> CD Review" (2009)</a></b></span></li>
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