Music History, Part 23: The Zoo, The Dirt Fishermen and Caustic Resin

Disclaimer: Memory is a funny thing, and an elusive one. Meaning; I might have some of this wrong, as 1. My memory is not always accurate, like anyone and 2. It is from my perspective only. Any friends  who were there, feel free to correct me or add things I have missed. It helps! Also, no gossip on anyone here, it ain't about that. Personal details are on a surface level, and friends, girlfriends and others are re-named to respect their privacy. People in bands generally put their names out there on albums and in interviews anyway, and are not in the habit of staying anonymous, and therefore are named here. That said, anyone who is in the blog that wishes me not to use their name has only to ask.

Backtracking...

When I started doing this blog, I was, as I put it in my first entry, a 'blog virgin'. My blog is of the type that is an online memoir variety, clearly. I learn-as-I go and I find that sifting through my memory files can be a laborious process. Often I miss things along the way, sometimes very important things; bands, events, venues...In this case, what I missed is almost embarrassing. In my defense, I have had a great deal on my plate at this writing, including personal challenges. Okay, enough rationalization! On to it!

The Zoo

Before the Treepeople moved to Seattle, between 1988 and 1989 (or '87-89?), there was a large music venue in town called the Zoo that began hosting alternative rock shows, which Treepeople played regularly. The Zoo was an important venue for many reasons, mainly because it was large, and most of the places where these types of bands could play were tiny clubs or house parties or the occasional hall. As well, The Zoo had a full on professional stage with a sound and lighting system, plus a full bar.

I have no idea how many shows happened there featuring bands from our little scene, but it was a considerable amount (feel free to send me lists). The stage was nice and big and there was an expansive dance floor made of black and white checkered tiles. The bar was located around the corner from the stage area, so all ages shows could be put on there easily.

The Dirt Fishermen

The Dirt Fisherman at that time were made up of the original line-up: Dave Grapp (guitar/vocals), Gina Gregerson (guitar/vocals), Kt Shanafelt (guitar/vocals) Dan Krejci (bass) and Gavin (Jason Jarvis, his birth name) (drums). This line-up and the later line-up were almost different bands in many ways, with the first incarnation being much more folksy rock and the second producing a harder rock sound. 

The folksy-ness of the first incarnation was due in large part to one of the songwriters, Dave Grapp, or at least that is my perception. Dave, Kt and Gina were all principal songwriters, so it is possible I could be wrong. But Dave's voice had a distinctly folksy, country feel (check out the song 'East' from the album 'Glenn's Car' https://www.youtube.com/watch?v=YN2PKWAac_A) Even his look and manner fit these genres, though he also dressed a bit like a school teacher (I think he actually was/is a school teacher...). 

I have fond memories of dancing to the Dirt Fishermen, surrounded by pretty girls in their own world, eyes closed, swaying and twirling to the music on the black and white tiled floor. It was magical. They were unlike any other band out of Boise (or anywhere, really). The combination of the different songwriting styles worked well together. 

                                                                      

 

Top: Gina Gregerson feeling it on stage at The Zoo. 

Bottom: Gina Gregerson feeling it on the dance floor at The Zoo.

Click here to see a video of the Dirt Fishermen performing at The Zoo:

https://www.youtube.com/watch?v=20Ivivl-AtE

The second line-up of the Dirt Fishermen brought in Glenn Newkirk, a powerhouse drummer with a very technical, aggressive drumming style, which instantly made their sound more rock. This was a bit of a trend at the time (starting with H-Hour, who traded a new wave sound for harder rock), and was a transformation that would happen to Treepeople as well once we moved to Seattle (as discussed in other entries). This trend was inevitably influenced by the bands coming out of Seattle, though we never would have admitted that at the time! It made for a unique sound for both Treepeople and Dirt Fishermen, mixing our variations on folk sensibilities with rock and roll, 'new wave' and a bit of punk thrown in. 

Dan Krejci's proficient skill and naturally rhythmic bass playing worked well with Newkirk's precise, agressive drumming style, and the combination of both propelled Gregerson's and Shanafelt's songwriting forward (eventually Grapp quit the band the band not long after 'Glenn's Car' was released). There were more power chord structured songs after Grapp left due to Gina and Kt's guitar and song writing styles, with the same haunting and beautiful voices floating above it all, giving the songs more than just a rock texture. 

The Dirt Fishermen's first LP, Glenn's Car, Silence Records, 

Image retrieved from: http://article.wn.com/view/2014/04/23/As_struggle_to_capitalize_early_lose_to_Rangers_n/

The Glenn's Car LP was put out on the Treepeople's Silence label, though Dirt Fishermen did all the real work in designing and promoting it. The cover features Newkirk's car after it was burned in a fire. It's an excellent record which captures the Dirt Fishermen at a transition point in musical styles (always my favorite records from bands/artists are such, like Dylan's 'Bringing it All Back Home').  

Top: Gina Gregerson and Kt Shanafelt playing live (Baltimore, early '90s). Middle: Dan Krejci dropping his skills all over the place in a Pat Brown designed Treepeople shirt. Bottom: From Dirt Fishermen promo photo. Sexy sells; Clockwise from top: Shanafelt,Krejci, Gregerson, Newkirk, photo by Joseph Beebe

In the early days of Treepeople, we were pretty much a team with the Dirt Fishermen, we went together well and we all respected each other immensely and got along swimmingly. The Dirt Fishermen even wrote a song called 'People in Trees', which is also on Glenn's Car. 

Dirt Fishermen continued on and did very well, touring with Portland's Dharma Bums, who loved Boise and played there often. I remember after one show with them which both Treepeople and Dirt Fishermen played, the singer for the Dharma Bums, Jeremy, was chatting with me outside the Zoo. I told him that Treepeople were moving to Seattle and he said to me, "Don't move to Seattle, Man. Move to Portland!" Funny to write as I am entering my seventh year in Portland. Dirt Fishermen also toured with Seattle's wonderful folk rock band The Walkabouts. I recently heard Dan Krejci co-host Radio Boise's 'History of Boise Music' show and he played some Dirt Fishermen tunes that they recorded but never mixed or released and they are fantastic. Eventually, as all bands except the Rolling Stones and Golden Earing do, the Dirt Fishermen broke up.

Caustic Resin

Anyone familiar with Built to Spill is also familiar with Brett Netson, one of the guitarists; he of long, wild hair and beard and soulful guitar skills. Long before he joined that band, he fronted an incredibly unique band out of Boise called Caustic Resin. This band is hard to describe with words, though I will try. I highly recommend looking them up on YouTube. Here is a link to a general YouTube search: https://www.youtube.com/results?

Caustic Resin was a 3 piece, besides Brett on guitar/song writing/vocals, the original line-up was Dave Kuykendal (since deceased, RIP) on drums and Tom Romich on bass. In the spirit of full disclosure, Brett Netson is a friend and one of my favorite guitarists ever, he is up there with the greats in my mind, and he is up there as a songwriter as well. He uses his influences gracefully, off the top of my head they are: Early Pink Floyd, Neil Young, early Flaming Lips, David Bowie, Brian Eno, Jimi Hendrix, Captain Beefheart and many more I am sure that I am missing. There is an underlying blues sensibility to his guitar playing and song writing, and his control of distortion into that framework is masterful. Over the top of this, his voice is a high-pitched growl that can drop to a deep, quiet, almost new wave style (think Bowie), vulnerable yet powerful.

Promo photos for the Caustic Resin album 'The Medicine Is All Gone' (I believe) Top: Left to right: Dillion, Romich, Netson Bottom: Dillion, Netson, Romich

Tom Romich's bass playing is what bass playing should be; rhythmic, thick, driving the music from underneath, and appropriate to each song. Dave was not in the band for very long so I can't remember his style (anyone who remembers can chime in) and sadly is no longer with us [Hi! This is Present Wayne (soon to become 'Past Wayne') and I am coming back to remind Past Wayne that there are these things called 'recordings' which capture the past very well, and, since listening to early CR demos, I can comment on Dave's style; Very rock, skilled and precise, dramatic tom fills, very cool. Carry on...]. The next drummer was Patrick S. Perkins, I know him better today than I did then, which was not much, but I remember his hippy metal style drums went pretty well with the music. I am more familiar with the drummer who took over next; James Dillion, whose style was a perfect fit with Tom's bass playing, entwining with its driving force and forming a solid foundation for the music, using tom rolls tastefully (so unlike what I did in my early drumming days!). 

It is impossible to write of Caustic Resin's music without writing about them as people, as the energy and feel of the music is a direct product of who they were, even more so than with most musicians (in my not so humble opinion). They had a bit of the 'wild child' vibe going on, that is to say, they reminded me of me and my friends when I was the young child of a poor single mother; left to our own devices on the streets and in the foothills of Boise, scruffy and adventurous. They were chaotic in their energy, which sometimes led to conflict, but they also had good hearts. When they stopped to visit me in later days when I lived in Seattle, they brought this energy with them; swirling, beautiful chaos. Never boring. Brett is a gearhead and would fix up some old van for them to tour in, often it looked like something out of 'Road Warrior', and their rough-around-the edges look would have placed them in that film comfortably. 

Caustic Resin performing live with artist Jeff Hogan painting to the music - Photos by Mark Hanford

Caustic Resin were very passionate about what they were doing, and their chaos and charm showed through in their performances, during many of which Tom performed in the nude, making sure to bend over and grab a beer on the floor once in a while with his ass facing the audience in all of its glory, inspiring groans and laughter. In the early days in Boise, they also had an artist friend, a painter named Jeff Hogan who would compose paintings while they played (see photos above). To behold them playing was a unique experience every time. Though this video is later than the time I write of here, this performance on Seattle public access TV in 1996 gives a flavor of CR live, though it is only a taste, as the situation was weird for them, and I know that Brett is not a fan of this performance (sorry Brett, send me a better one!): https://www.youtube.com/watch?v=bogMMkne9LQ

There are many excellent Caustic Resin releases, but for me, the best is unquestionably the epic double album put out by UP! Records and produced by Phil Ek (who also produced albums by Built to Spill and Halo Benders and a long list of bands) 'Fly Me to the Moon', which is a journey into the essence of what Caustic Resin was musically; ethereal, hard-rocking, epic and full of riff-driven grooves which teeter at the edge of chaos. The album even has an excellent Brian Eno cover tune to boot. GO BUY IT.

Artwork by Jeff Hogan

Listen here:

https://www.youtube.com/watch?v=wVZi0nrhlfA&list=ALBTKoXRg38BCNA5A7S7AI158PrDZbId5A

Caustic Resin, like Dirt Fishermen, gigged a lot with Treepeople, often at the same show, and it was an excellent, diverse line-up. Treepeople/Silence, put out a 7 inch vinyl compilation of the three bands called the 'Silence Sampler'. It was a nice little slice of the Boise scene, though Treepeople had moved to Seattle by that time (it was released 1990). Here is the Discogs page for the record: http://www.discogs.com/Dirt-Fishermen-Treepeople-Caustic-Resin-Silence-Sampler-No-1/release/3864445

 Picture of the Silence Sampler 7 inch featuring songs by Dirt Fishermen, Caustic Resin and Treepeople - Cover concept, Wayne R. Flower, design Pat 'Brown' Schmaljohn

Image retrieved from: http://thumbs4.ebaystatic.com/d/l225/m/m7Fr_DdcpnK843URsS8p5Bw.jpg 

In 1995, Caustic Resin and Built to Spill teamed up and released a collaborative EP (not a split!) which is excellent. Look it up. Or better yet, here: https://www.youtube.com/results?search_query=caustic+resin+built+to+spill
Note the second song on the EP is 'One Thing', one of my favorite songs ever, on which, during the section with just bass and drums, you can hear the spirit of the driving Caustic Resin rhythm section. This record is the melding of two of my favorite songwriters/guitarists and rhythm sections. Here is the wiki page, useful for 'stats':http://en.wikipedia.org/wiki/Built_to_Spill_Caustic_Resin
GO BUY IT.

Since I just graduated from college, I was compelled to sum up here in some kind of conclusion, but then I decided, ah fuck it. This is a blog. 'See you' next time.

Wayne R. Flower - December, 2014

Music History, Part 22: The Early Seattle Years 1989-90

Disclaimer: Memory is a funny thing, and an elusive one. Meaning; I might have some of this wrong, as 1. My memory is not always accurate, like anyone and 2. It is from my perspective only. Any friends  who were there, feel free to correct me or add things I have missed. It helps! Also, no gossip on anyone here, it ain't about that. Personal details are on a surface level, and friends, girlfriends and others are re-named to respect their privacy. People in bands generally put their names out there on albums and in interviews anyway, and are not in the habit of staying anonymous, and therefore are named here. That said, anyone who is in the blog that wishes me not to use their name has only to ask.

Seattle Years Disclaimer: As I enter the Seattle years in this music blog, the above disclaimer goes double, because so much happened and there are so many details to cover in this 14 year period; so many shows, so many bands, so many friends and so much change in my life. As a result of this and the fact that the four of us who formed Treepeople found ourselves in the midst of a scene which attracted the eyes of the world 2 years after our arrival, I am bound to, hell, I will forget something. 

This means two things: I will be coming back to entries and adding things to them over the months following publication, and, that the part of the above disclaimer where I ask for help from people in keeping me honest and in remembering things is crucial to them. I thank anyone ahead of time who was there for helping me, and, I thank those who weren't there who may notice errors in dates or chronology. Yes, I have the Internet, but many bands, scenes and things I will cover did not receive the attention I feel they deserved and thus I will recall them mostly from memory, or rather, memories; mine and those of friends. And friends who were in bands which I do not mention, please don't take it personally, just remind me. I have created a monster in undertaking this blog, one which I am determined to ride until the end!

Lastly, as mentioned, this scene gained national attention, and thus, needless to say and as we all know in hindsight, many bands/people became famous, became rock stars, became admired by millions, etc and etc...This makes another part of my original disclaimer even more important. This memoir is intended to tell my story, from my perspective. I have no intention of creating a place where people can seek gossip about famous people. I write of my impressions of people, bands, and the Seattle scene from the '90s into the early 2000s. People who are my friends I protect fiercely, not because they are known, but because a symptom of being known is frequent intrusion into their lives at a level beyond what I feel is acceptable. Thank you for indulging me this disclaimer. Onward>>>

A band needs a place to practice...

Tad's girlfriend knew the guys in a local Seattle band called Blood Circus who needed another band to share in the costs of their jam space located in a part of town not far from the Boeing Air Field named 'Georgetown', and helped us get into the space by passing our name along. The space was in a narrow building on Airport Way, between some old taverns which seemed like they had been there since the late 1800s, one was called Jules Maes and is still there. At that time the only things located in Georgetown were industrial type businesses and a small neighborhood of homes (also still there). 

Across the street from the jam space was an old building, it looked to have once been a factory of some sort, and the original windows had been bricked up. It turned out that part of the building was merely a facade wall that had been preserved for historic purposes, and the rest of the building was occupied by Rainier Cold Storage & Ice. It turns out that this was once a brewery, Seattle Malting and Brewing Company (where Treepeople would later pose in front of for an article on us published in the local rock rag called 'Backlash' in 1991 - I will post this pic later in the story). 

A former brewery (Seattle Malting and Brewing Company) from the heyday of Georgetown south of Seattle. Much of the building was a facade. Treepeople rehearsed right across the street from this building. Photo retrieved from: 

http://upload.wikimedia.org/wikipedia/commons/c/cd/Seattle_Georgetown_Brewery_10.jpg

Georgetown, when it was a city, was known for its breweries and saloons. It was annexed into Seattle in 1910 and is considered by most to be the oldest neighborhood in Seattle. Since the early 2000s, Georgetown has changed considerably. As the Wikipedia page on Georgetown states; "Georgetown has had a certain degree of a "scene" since the 1990s. In 2001, Industrial Coffee and Stella Pizza were both hosting live musical performances. The former folded, and the latter stopped hosting shows and changed its name to Stellar Pizza. Since that time, however, quite a few new bars and coffeehouses have opened in the neighborhood, plus a record store, a beer store, a barber shop, a bakery, a scooter shop, a "skin sanctuary" (which is to say, a waxing salon), a web design company, and an art gallery/recording studio. Laura Cassidy of the Seattle Weekly described the prevailing aesthetic: "Creatively employing the open, airy brick-walled spaces left behind by industry and manufacturing, and augmenting them with local art and 20th-century detritus, Georgetown's merchants consistently fashion warm, imaginative interiors: places you want to visit and never want to leave. Just walking through the streets you witness post-squat, industrial bohemian chic."  Also, Sub Pop records recently hosted their 'Jubilee' party there, celebrating 25 years (though they have been around a bit longer, it just sounded better and worked with the whole 'Jubilee' concept - typical Sup Pop hype-marketing) which I attended. It was fun but there were way too many people. It was a trip to see how much things had changed in Georgetown.

The rehearsal space was decent, and the Blood Circus guys were really nice to us. In the same building, located above us was a recording studio called 'Electric Eel', owned and operated by a guy named Zach, the bass player of a great pop/punk band called The Purdins, (the name came from some neighbors that a couple members of the band grew up next to). The Purdins quickly became one of our favorite Seattle bands, and is still one of my favorite bands in general. They played catchy, poppy tunes with a slight punk flavor to them. The singer, Tony Driscoll, wrote witty, ironic lyrics involving personal stories of loss and the day to day grind of life, and sang them with an amazing, well-projected voice full of legitimate emotion. The Purdins often performed wearing goofy outfits and put on a great live show. 

The Purdins doing their thing - Photo retrieved from:

http://userserve-ak.last.fm/serve/500/37077333/The+Purdins.jpg

 

Blood Circus, Treepeople's jam space roomies in the early '90s in Georgetown - Photo retrieved from:

http://userserve-ak.last.fm/serve/_/610377/Blood+Circus.jpg

 

We weren't as familiar with the Blood Circus guys, for whatever reason, maybe because we were jam space roomies, we didn't bond as much with them as we did with The Purdins. Their music was good; heavy metalish and kind of punk. They were one of the early bands to play the kind of music that would later be called 'grunge', and they definitely influenced later Seattle bands. We mostly saw each other when we showed up to jam during our allotted time as they were ending their rehearsal, and usually it was just Doug we saw (the drummer, a really great guy), who also collected rent from us. Later, the band Kill Sybil rehearsed in the room we were in as well, featuring Patty Schemel, who later drummed in the band Hole.

Jam neighbors/old friends

There were many other bands who practiced in this space. Right next door to us the excellent hardcore band Christ on a Crutch, featuring two of our friends from the Tri-Cities hardcore band Diddly Squat: Eric Akre on drums (who would later play drums in Treepeople after I quit and my replacement quit) and Nate Mendel on bass (later in the Seattle band Sunny Day Real Estate and who currently he plays bass in The Foo Fighters). More on Christ on a Crutch later. Also, our other friends from Tri-Cities, Paula Sen (the aforementioned 'Paula Fallout') and her boyfriend, Doug Pack, practiced in the same room in another excellent hardcore band called Whipped, the drummer of which, Drew Quinlan, would later play drums in a band I played bass in called Violent Green, (a band that will of course appear in the story later). Sadly, Drew passed away this year (cancer).

One thing that stands out in my memory about these Tri-Cities folks and our arrival on the scene in Seattle was that they all knew us as members of the Boise hardcore band State of Confusion, of which they were fans, and when they heard we had morphed into a punk/pop band called Treepeople, they were disappointed. Treepeople grew on them, however, and soon they were fans of this band as well. Paula actually put out our first 12 inch ep, as mentioned earlier.

A negative review
 
In 1989, we 'released' our first seven inch record, Important Things/Handcuffs/In My Head (see Part 20 for more details on this record, as well as scans of the covers). We sent it to various fanzines and rock magazines around the country and some overseas. This included the Seattle rock magazine called 'The Rocket', and by the Seattle rock magazine, I mean the Seattle rock magazine. At that time, getting in The Rocket was a good thing...usually. Not for us, though, at least the first time, unless of course you believe in that adage, 'there's no such thing as bad publicity'.

Grant Alden was the music reviewer for The Rocket and had the task of reviewing our 7 inch. It was a terrible review. Getting terrible reviews happens to the best of bands, we weren't so naive as to expect all our reviews to be shining, but this review wasn't about the music at all. In today's climate of music reviews, this critique may seem silly, but back then, most reviews actually mentioned the music, and used way less weird metaphors and attempts to be clever and make it all about the reviewer than is the way of things today.

One day I was browsing records at a new record shop by where I lived (Rebellious Jukebox) and I recognized Grant Alden doing the same. I introduced myself and struck up a conversation and brought up the review, and I told him I thought that it wasn't a fair assessment of the band in that it really didn't talk as much about the music as the fact that we were an out of town band that moved to Seattle. He had really made it seem like we were just the next band coming to try and capitalize on the music scene there. He had no idea what was coming in a couple short years when bands from Kansas and several friends would move there to 'make it'. And we were from Boise! The Northwest! Seattle was our back yard!

I don't think anyone had ever approached him about a review quite the way I did. I was respectful, I wasn't yelling at him or being unreasonable. I just let him know that I thought the review assumed a lot about the band and didn't really take the music into consideration. Either I made an impression on him, or, he gave the record another listen and wrote another, more positive review later. At the time, I found that very interesting and assumed it was because by the time the second review came out, there was a bit of a buzz about us. Only Grant himself can answer the question as to why he reviewed it again. He didn't seem like an asshole at all.

Adapting to the city

As I mentioned, I have always been a fan of bigger cities. Actually living in one was a whole new experience, and for the most part, I loved it. There were more people everywhere, of course. You had to plan for more time to do things, even grocery shopping, and of course you had to plan for traffic. Where my girlfriend and I, and Doug and his girlfriend lived was on East Thomas street, two blocks off of the main strip of Broadway, a strip where a lot of bars, restaurants, coffee shops and record stores were/are.

At that time, there wasn't quite the amount of foot traffic that there is today, but there was still quite a bit, and then it was sort of a place to be seen. One saw lots of leather, spikes, punk hair dos of various colors, and lots of men holding hands and kissing, which became normal to me very quickly. I may have mentioned this before in the blog, but even though I had gay friends in Boise, living in Seattle challenged what I previously thought to be an open mind and I became rapidly educated about gay people. In Boise, all of my gay friends were new wavers or punk rockers, and were very flamboyant, very 'out' (which was incredibly brave in Boise in the '80s) and since they were the only gay people I knew, I thought most gay people were that way. Seattle made me realize gay people were just...people. They were laborers and lawyers and doctors and whatever. Their sexuality didn't define them entirely, it was, as it is with heterosexuals, just part of who they were. And for them to come out was a brave thing to do in most of the world, because many people are small-minded, hateful and ignorant. In Seattle, especially on Capitol Hill, it was more of a gay safe-haven. I don't mean to say that gay people weren't discriminated against there, they certainly were, but far less than most US cities I have been in, and there was a higher quotient of out gay business owners. 

I was a tall, skinny, long-haired dude wearing Dickies work pants and a heavy wool flannel jacket I got at a thrift store, wandering around and checking things out. I must have looked scruffy, because panhandlers wouldn't ask me for money and would give me a nod, as if I were one of them. In fact, one time I came upon a group of three homeless guys who seemed to be pretty drunk. The most inebriated of them stuttered while trying to ask me for money, and his friend hit him and said, "Don't panhandle a panhandler!" The gray weather took some getting used to, but Seattle quickly became home. 

Next up: A slight shift backwards in time to a Boise venue that was important to Treepeople and to many other bands in the late '80s, two of which I want to profile in more detail; the Dirt Fishermen and Caustic Resin