THE BEATLES IN SEATTLE: 1964

SURE, THERE HAD been major rock ’n’ roll shows in Seattle before The Beatles arrived here back in the summer of 1964 – Buddy Holly, Eddie Cochran, and Gene Vincent at the Orpheum Theatre, and Elvis Presley at Sicks’ Stadium in 1957 come to mind – but the Fab Four’s initial appearance at the Seattle Center Coliseum was undeniably historic. The Coliseum itself had served as the “Washington State Pavilion” during 1962’s Century 21 Exposition – the Seattle World’s Fair – but the bigbeat concerts held during that expo had occurred in other venues (including the Arena where Fats Domino, James Brown, Ray Charles, the Ike & Tina Turner Revue, and Ricky Nelson all performed). Then, after The Beatles began scoring international radio-play in late-1963, it became apparent that the sheer size of their emerging fan-base would require a larger venue for their upcoming tour-date. Thus the Coliseum made its debut as a concert hall by hosting a crowd of 14,300 screaming teenagers on August 21, 1964 – the date that marked the building's beginnings as the site of a multi-decade run of concert performances by the biggest names in rock ‘n’ roll. Here’s a photo of how it all began...

ROCK 'N' ROLL IS "DISGUSTING"? (1959)

IN THE LATE 1950s there were still plenty of folks – especially established musicians – who were rock 'n' roll haters. The long list of nationally prominent stars who specifically dissed the music (& its fans) included bobbysoxer idol Frank Sinatra, classical cello master Pablo Casals – & the biggest A&R wig at the largest label in the world: Columbia Records' Mitch Miller. Even the greatest singing star to ever emerge from the Northwest – Bing Crosby – figured (as late as 1962) that, not to worry: rock music had already "run its course."

Along the way a number of songs with a clear anti-rock spirit, & containing outright mocking condescension, were produced. Examples include: Stan Freberg tunes like "Try" (a histrionic satire of the Northwest's pop phenom, Johnnie Ray, & his international hit, "Cry"), "Sh-Boom" (a spoof of the Chords' 1954 doo-wop hit), & "Heartbreak Hotel" (a slam on Elvis Presley's breakthrough 1956 hit, in which the King rips his pants and a studio's backslap echo goes berserk) -- & The 3 Haircuts' "You Are So Rare To Me" (Sid Caesar, Carl Reiner & Howie Morris' 1956 sendup of a twitchy & pompadoured teen vocal trio), & Mitchel Torok's March, 1959, dig against Johnny Cash's rockabilly sound, "All Over Again, Again."


Seattle's contribution to this artistically dubious field is highlighted with this single: The Byron Gosh Trio's "Disgusting" / "By Gosh." Issued by New York's Golden Crest label – their archives show that it was mastered on May 15, 1959 – the tunes were cut at Joe Boles' fabled West Seattle home studio. We also know that those songs were published by Bolmin Publishing -- Boles' firm in partnership with Tacoma's music man, Art Mineo. The music itself is nothing much more than a cocktail lounge-worthy parody of real rock 'n' roll – it does feature a quite fluid electric guitar solo & is backed by crazy beatnik bongo-style drum fills – & the tune's structure emphasizes the utterance of exactly one repeated word. But while a few different radio hits of the day -- like the Champs' 1958 smash, "Tequila" -- had periodic breaks where the song's title was invoked in an enthusiastic manner, on this one the term "disgusting" is articulated with a sense of, well, sheer disgust.


So who were the Gosh gang? Well, that's a bit of a mystery. Virginia Boles – widow of the audio engineer – once told me that this disc was created as a slam on rock music by a group of professional local jazz stalwarts who deeply begrudged the new sounds. So, even though it is not firmly established, I'll risk taking my best shot at snitching on the culprits. A review of the contents of Boles' old studio guest log reveals evidence of a session in the spring of 1959 which featured these jazzmen: Chuck Bennett (guitar), Hal Champ (bass), Peter Lederer (piano), & Keith Purvis (drums). Interestingly, what I know about them is that the first two men also performed on another, later, Golden Crest 45: Stan Boreson's send-up of big-beat music: "Swedish Rock And Roll." Beyond that "coincidence," about all I know at this time is that Purvis – who grew up in North Seattle & graduated from Roosevelt High School – became a first-call AFM 76 union drummer & opened his own Burien-based store – the Keith Purvis Drum Shop (218 SW 153rd Street) – in 1955. That store – where, by gosh, I bought a set of new black Ludwig tubs in 1977 – became a mecca for generations of Northwest drum nuts, right up until his death in October 2004. But: if those Seattle players weren't the Byron Gosh Trio I'd certainly love to know who was!

THE BARDS' "BRITISH INVASION" DAYS: 1966

THIS IS THE STRANGE TALE of a Northwest rock 'n' roll 45 whose path to success – including being issued on a surreptitiously labeled disc – was perhaps like no other. It was in 1964 – amidst the exciting British Invasion (as spearheaded by the Beatles, Rolling Stones, et al) – that a Moses Lake, Washington-based combo, the Fabulous Continentals, joined scores of other American groups who enthusiastically adopted the various trappings of the limey groups in an effort to jump aboard the Anglophilic bandwagon.

Examples of new Northwest bands who emerged at that time include: the Ascots, the Blokes, the Mersey Six, the Huntingtons, Sir Raleigh & the Cupons, King George & the Checkmates, Lord Kalvert & the Reserves, Lord Byron & the Poets, and Prince Charles & the Crusaders. Meanwhile, a few established local musicians also tried to cash-in by altering their images to appear British – such as Spokane's Runabouts (who changed their name to the London Taxi), & Seattle's popster, Billy Saint (who cut a 45 as Johnny London). Similarly, the Fabulous Continentals (who had originally formed back in 1961 to play standard fare pop and Northwest dance sounds -- like "Louie Louie") re-surfaced as the Bards. And, like some of their peer combos, the boys were now outfitted with mop-top haircuts, Carnaby Street-style garb (& sometimes even assumed fake Liverpool accents) – all intended to help them attract audiences of Beatle-crazed teenage girls.

Signed by Seattle record mogul, Jerry Dennon, the Bards proceeded to record such forgettable things as a bland cover of the Who’s “My Generation,” & a song called "The Jabberwocky." Of greater interest though, was the Bards' attempt to construct an "original" song based upon vintage writings by the esteemed 19th Century English poet, Edward Lear. And boys-being-boys the Bards took great humor from his classic 1871 piece, “The Owl And The Pussycat” – especially the lyrical zinger: “O lovely pussy! O pussy my love, what a beautiful pussy you are.”

Upon being recorded in mid-’66, Dennon issued the song as a single on his new Piccadilly label (#224). But he had greater things in mind for the band than just that & was soon attempting to license it to bigtime labels in Hollywood. The old pros down there, however, took one listen to the racy thing and instantly applied the "ten-foot-pole" rule, declining the opportunity. In particular, A&M Records wouldn’t touch it, & Liberty/Imperial Records also steered clear. But Dennon – who had already made a fortune via his label's recording of the Kingmen's controversial hit, "Louie Louie" – had good reason to believe that a mildly naughty song just might have some commercial potential. Finally he struck an interesting, & perhaps unprecedented, deal with the Beatles' label, Capitol Records. Though somewhat interested, the company was still just wary enough that they agreed to press a limited amount of the Bards' tune on records with plain white, logo-free, (but, numbered: #2148) labels – & with the understanding that if Dennon could spark some interest at radio stations, they’d reconsider issuing it on Capitol proper. 

Which is exactly what did happen: the song began getting some spins & Capitol came through – issuing it with the same (#2148) release number. In the end, however, "The Owl & The Pussycat" still failed to break out beyond this region & the Bards subsequently settled down and produced a series of soft-rock regional hits though 1969.

WASHINGTON HALL – A HISTORY: (1908–2010)

WASHINGTON STATE'S HISTORY COMMUNITY deserves high praise for successfully rallying to save one of Seattle's most storied entertainment venues from the evil wrecking ball. The Washington Hall (153 14th Avenue) – home to over a century of music-making & dancing – will not be torn down, despite years of rumors to that effect.

Built in the Central District by the Danish Brotherhood Society in 1908 as a settlement house (photo courtesy, Puget Sound Regional Archives) for new immigrants, the hall initially hosted old-country folk dance groups & musicians. To make ends meet, the Brotherhood also welcomed rentals, & the town's growing African-American community held many events there over the years. On June 10, 1918, the local chapter of the NAACP threw a Grand Benefit Ball there which featured Miss Lillian Smith's Jazz Band – a night that made history as the earliest documented jazz gig in Seattle. Other fabled shows followed: Cab Calloway, the Duke Ellington Orchestra, Count Basie Orchestra, Mahalia Jackson, Dinah Washington, Marian Anderson, Billie Holiday, & James Brown's band.

Confusion, however, has arisen in recent media accounts of the hall's travails: mistaken claims that Big Mama Thornton, Chuck Berry, & Little Richard all played the room have polluted its history, just as the dance there on February 20, 1960 (above photo by Odell Lee) by Jimmy Hendrix' teenaged R&B combo, the Rocking Kings, has repeatedly been cited, incorrectly, as the young Seattle guitarist's very first gig.

In 1973 the building was sold to a black organization, the Sons of Haiti Masonic Lodge, which began to rent it out to a variety of event promoters & organizations. As the 1970s rolled into the 1980s & the Northwest punk & New Wave movements gained traction, the Washington Hall was the site of tons of exciting shows including early ones by Chinas Comidas, Henry Boy, the Avengers,  the Cheaters, the Radios, Red Dress, D.O.A., the Look, the Dishrags, Pointed Sticks, & an absolutely legendary one by the Dead Kennedys & Ice-9 on July 7, 1979.

San Francisco's radical lefty punk band, the outrageously named Dead Kennedys, were on tour performing songs like their new single, "California Über Alles," & Ice-9 – a first generation Portland punk crew (see photo below) – likely kicked out a rendition of “Revolting Mess” from their classic, and sole, 45.

Seattle's hip-hop pioneer crew, the Emerald Street Boys, rocked the room in the early '80s, as did many more bands – right up into the Grunge Rock Era: the Void (1982), Ten Minute Warning, the Rejectors, the Accüsed, the Boot Boys (1983), Agent Orange (1985), Poison Idea, Last Gasp, Green River, Christ On A Crutch, Subvert, the Jesters of Chaos, My Eye, Resolution, the Derelicts, 13 Hilacopters, Cat Butt, Seaweed, Gas Huffer, & the Gits. With all that great history – and much more – behind it, the Washington Hall received City of Seattle Landmark status in 2009, and then with a generous grant from the Washington State Historical Society, and another from King County's 4Culture arts-preservation agency, the Historic Seattle organization was finally able to seal the $1.5 million deal. Next month – on May 1, 2010 – the refurbished hall will host a "House Party" to celebrate its revival.

SEATTLE HARMONY KINGS: 1920s

HOW MANY TIMES have record hunters been fooled when they uncovered 78 rpm discs by a Roaring '20s dance-band credited as the Seattle Harmony Kings & quite reasonably assumed that they were an early crew on the 206 scene? Well, I confess to being one in that category – but with a name like this, who could have guessed that the swingin' combo was not from the Pacific Northwest.

It appears that eight decades ago, little ol' Seattle seemed like such an exotic far-west locale that a Chicago-based musical group happily named themselves the Seattle Harmony Kings. The Kings were a subset of the Benson Orchestra, which had been formed by Edgar A. Benson – a cellist who managed bands in the Windy City. Benson eventually got so busy booking his bands that he hired other guys (like Roy Bargy) to lead them. The Kings were directed by clarinet and tenor sax-man, Eddie Neibaur, and fellow band-members included: Bennie Neibaur (trombone & vocals), Earl Baker (trumpet), Marvin Hamby (trumpet), Leon Kaplan (banjo), Swede Knudsen (tuba), Rosy McHargue (clarinet, alto sax), Joe Thomas (piano), & Richie Miller (drums).

One info source posited that the Kings was a name Victor applied to the group in order to differentiate them -- & their electrically recorded songs -- from the Benson Orchestra's acoustically recorded works. Perhaps. But what we know for sure is that on September 2, 1925 two songs -- "Darktown Shuffle" & "If I Had A Girl Like You" -- were captured by Victor in Camden, New Jersey. Then, nearly one year later – on August 2, 1926 – a Victor session in New York City yielded "Breezin' Along (With The Breeze)" & "How Many Times?" These guys are certainly harmonious musicians, maybe even kingly with their skills – but they sure ain't from Sea-Town.

HIGH SCHOOL USA (SEATTLE - PORTLAND): 1959

THE ONE-HIT WONDER of all time!  It was in late-1959 that a silly pop ditty – "High School U.S.A." – hit the radio waves. It was sung by Tommy Facenda – who, as one of the two "Clapper Boys" with Gene Vincent's Blue Caps, had contributed percussive handclaps to their rockabilly hits before going solo in 1958. Facenda hooked up with Norfolk, Virginia's Legrand Records who cut & released the song – which featured these lyrics: "Come Friday 'noon 'bout half-past three, I drop my books and my misery / Stroll on down to the soda shop, drop a coin in the old juke box / Lookin' around what did I see, every school kid there could ever be / They came from..."  – from there Facenda gave name-check shout-outs to various high schools.

The original version featured schools in his native Virginia & was an instant local success. The big-time Atlantic label in New York quickly licensed the tune & took Facenda back into a studio where a new rendition was cut. But Atlantic had even grander ideas for  marketing the tune: they had poor Facenda record at least 28 different versions, each with customized references to specific schools in these different areas: New York City, North & South Carolina, Washington D.C.- Baltimore, Philadelphia, Detroit, Pittsburgh, Minneapolis/St. Paul, Florida, Newark, Boston, Cleveland, Buffalo, Hartford, Nashville, Indianapolis, Chicago, New Orleans, St. Louis - Kansas City, Georgia - Alabama, Cincinnati, Memphis, Los Angeles, San Francisco, Texas, Seattle - Portland, Denver, & Oklahoma.

Billboard magazine decided to treat all 28 versions as one release for the purposes of tracking the song(s) on their pop chart & by combining the overall action, "High School U.S.A." reached #28 nationally. Typical for that time, the Pacific Northwest seemed so remote to the New Yorkers that they couldn't even get all the school names down right. Thus the "Seattle - Portland" version highlighted these schools:  Ballard, Cleveland, Jefferson, Roosevelt, Washington, West Seattle, Sunnyside, North-Central, Lincoln, Stadium, Grant, Blanchard, Franklin, Madison, David Douglas, Bremerton, Rogers, Benson, Queen Anne, Garfield, Highline, Wilson, Longview, Shelton, & Pendleton – some of which are even in the towns of Seattle & Portland (& far-flung places like Sunnyside & Tacoma & Bremerton & Longview & Shelton & Pendleton). Geographic inexactitude aside, the 45 became a Top-10 radio hit that autumn in Seattle & Portland – and maybe beyond.

SEATTLE's BANJO GAL: 1800s

WHAT LITTLE IS KNOWN about the young tenor banjo-playing woman seen in this recently discovered cabinet card photograph is quite intriguing. A handwritten inscription on its reverse informs only that this is: "Annie Jackson (Mrs. J.N. Pyncheon) My Mother."

But info gleaned from the photo's credits are enough to get one's imagination roiling. The image was captured at Seattle's Roxwell Studio in the Roxwell Building (at the "Corner of Front and Columbia" streets -- today's First Avenue & Columbia Streets) on the Roxwell Block. Alas, the name "Roxwell" does not appear in Carl Mautz' authoritative 1997 tome, Biographies of Western Photographers: A Reference Guide to Photographers Working in the 19th century American West.

The circa 1880s Roxwell Building (106 Columbia Street) was, however, home to numerous notable tenants -- including Conrad Rideout, the African-American lawyer and Democratic politician who arrived here from Arkansas in 1891 -- the same year that Augustas Koch's famous illustrated birds-eye-view map of Seattle (which included the Roxwell Building) was printed by the Hughes Lithography Co. Around that same time the prominent African-American photographer James P. Ball arrived from Montana, moved into the Roxwell, and established his Ball and Sons Studio which operated there for a decade. During those early times, Seattle was still transforming from a soggy sawmill town into the bustling jump-off point for thousands of crazed gold-seekers heading up to the Alaska and Yukon Gold Rushes. Judging by her appearances alone, Ms. Jackson was perhaps more likely to be a musician who would pluck out a few old-timey hymns for her family's fireside gospel hour than entertain the leering loggers, miners and sailors swarming rough-&-tumble bars like Pioneer Square's Bucket of Blood room -- or even perhaps the clients at Madame Damnable's infamous house of ill-repute just down the block at First Avenue & Main Street. But is it at all possible that our Annie Jackson is the same one that was -- as noted by local historian Quintard Taylor in his 1994 book, The Forging of a Black Community: Seattle's Central District from 1870 through the Civil Rights Era -- listed in the 1891 Seattle Directory as an African-American music teacher?