Dear Redbone Warriors:
Here’s the letter I recently sent to the Hall, along with a copy of Pete De Poe’s book. If we do not give up, we will prevail. Thank you to all signatories. Please keep sharing the petition wherever possible....
May 6, 2019
Mr. Greg Harris, President and CEO
Rock and Roll Hall of Fame
1100 Rock and Roll Boulevard
Cleveland, OH, 44114
Dear Mr. Harris:
Would you please consider the nomination to the RRHF of one of the most important musicians in its history: Pete De Poe, if not also one of rock’s most important bands ever, Redbone, which Pete helped form back in 1969? (See the fans’ petition, “Redbone: Help Get Them into the Rock and Roll Hall of Fame”) Redbone is one of rock’s greatest pioneers as the first Native American band (with Mexican roots), creators of a new genre, Native American Swamp Rock, and heavy influencers of many contemporary and descendant acts . . . Redbone: Lolly Vegas, Pat Vegas, Tony Bellamy, Peter DePoe, Arturo Perez and Butch Rillera. Where would rock ‘n’ roll be today without the Tribal Elders of Rock?
Lolly and Pat Vegas made huge inroads as solo artists, both as collaborative studio musicians, but also as artists in their own right. They worked with many famous acts of their time, including Jimi Hendrix and The Rolling Stones. More importantly, during the tumultuous 1960s, their band, Redbone, became part of a cultural movement to express Native American pride (with Mexican influences) and the musical sounds associated with it - and tied it into the traditional American rock sound. So many bands today have been influenced by these rock legends whether they be classic East LA bands like the The Romancers, or Mark and the Escorts, to the Queen of Soul, Aretha Franklin, to legendary rock bands like Led Zeppelin, all the way to alternative bands like Los Lobos. There’s a reason why the great guitarist Eric Clapton reportedly called Lolly Vegas before his death to tell him, “You are my favorite guitar player.”
Please consider the historical record below and nominate them for induction into the Rock and Roll Hall of Fame...
Jim Hoffmann - Editor, King Kong Pete (Pete De Poe, 2017)
Born on the Neah Bay Reservation near Seattle in 1943, Peter Oscar “Pete” De Poe (Native name: Last Walking Bear) was practically born to be one of the greatest drummers of all time. Perhaps, it was written in the stars by The Great Spirit, the Creator of Everything. At age four, his father, William Hauser De Poe, Sr. (Native name: Chief White Antelope), brought him along to a pow wow on the reservation. That entire night, De Poe sat before a Native drummer, rhythmically beating away, whilst the little boy absorbed every thump, every flex of the wrist of that original artist. As De Poe told me, “I knew then and there that I was going to be a drummer when I grew up. I didn't even have a chance to be anything else. To some degree, that hurts me. But, and this makes me laugh, it is what it is.”
Though De Poe has a bit of European blood (German and French), he is primarily a mix of various Native American tribes including Cheyenne. His Native American name is Last Walking Bear. In fact, De Poe currently lives on a reservation in Oregon. As part of his heritage, De Poe has said that he’s proud to say his Great, Great, Great Grandfather was Chief White Antelope, a famous Cheyenne warrior, who was butchered by savage Federal troops during the violent Sand Creek Massacre in Colorado Territory in 1864. (See Berry’s succinct account, “Native History: Sand Creek Massacre Devastates Tribes…”) Perhaps, that is why his experience with Redbone made him proudest of all of the professional experiences he’s had over his some 50 year career: as he stated to me once, “We brought the Native Peoples together.”
From a strictly historical perspective, Pete De Poe is considered in many circles as one of the most prolific drummers of all time. He single handedly created a new sound in the rock drumbeat category, a unique sound that is dubbed, “The King Kong Beat.” The origins of the name go back to Redbone and the idea that as De Poe played, Tony Bellamy stated to the effect, “the sound seems to keep getting bigger and bigger.” Fellow rock drummer, David Garibaldi (Tower of Power), an icon in and of himself, has publicly stated that the King Kong Beat was the most important he had ever learned. (See Garibaldi’s clear cut and concise explanation of the King Kong Beat: “The Most Important Beat I Ever Learned”)
De Poe is an important historical figure in rock history because he pioneered a completely new sound, essentially marrying Jazz and Rock drumming through his King Kong Beat. Ironically, on July 6, De Poe had asked me quite seriously, “What is an icon?” Though I used that term to describe him a few days earlier, he did not fully understand the meaning of it. I replied, “An icon is something or someone that’s quickly recognizable, like a Coca Cola logo or Elvis Presley, the King of Rock and Roll. They are recognizable, because they are the best in their field. Therefore, since you are considered one of the greatest drummers of all time, and single-handedly created a drum beat that’s mimicked the world over . . . you are an icon.” Pete De Poe accepted that explanation with complete and utter humility. To prove my point, a quick perusal of YouTube found that over 15 known posts referencing Pete De Poe and his King Kong Beat had in aggregate of some 750,000 views. De Poe’s brainchild still has an impact today. He is indubitably an icon.
Which brings me to the imperative of today, the here and now. Sacajawea was a member of the Lewis and Clark Expedition from 1804 to 1806 and was awarded a U.S. Coin minted in her honor in 2000 for her efforts in expanding U.S. territory; Pierre and Marie Curie discovered radium in 1898 and were awarded the Nobel Peace Prize in 1903 for furthering the world’s understanding of radiation science. Pete De Poe was a member of the first Native American rock band, which essentially created a completely new genre dubbed “Swamp Rock,” and he specifically individually created a new rock drum beat, dubbed the “King Kong Beat,” yet De Poe has yet to be awarded any recognition in the Rock and Roll Hall of Fame. How come? I don’t understand it, frankly, at least not when evaluating the facts using the most basic common sense.
Violet De Poe, Daughter of Pete De Poe
I’ve always been really proud of my dad, and a little bit boastful of that in my younger years. I tell people, “Hey, this is my dad!” and if they’re old enough – they know. They typically will say, “Oh, that’s really cool!” Just knowing that my dad made the King Kong Beat, and that he was there for some really great moments as far as music goes, and got to experience much, that makes me happy. The following is one of my favorite stories that my dad, Pete De Poe, told me…
My dad was backstage with Elton John and Jimi Hendrix. So, they were hanging out and Elton John was upset, because he didn’t know that Lolly was such a great guitar player. After hearing my dad’s band play, Elton John was supposed to go up after them and play. He came over to Pat, Lolly, Tony and my dad and said, “You guys didn’t tell me he was so damn good!” So, according to my dad, Elton John didn’t actually want to play on stage after my dad’s band, because Lolly’s guitar playing was phenomenal. Yeah, to many people the world over, Pete De Poe is a rock star, but to me, he’s just my dad. And I love him that much more.
Melica Bellamy, Daughter of Tony Bellamy
My dad is a rock star for sure, but he’s also important historically in rock ‘n’ roll for what he contributed not only as an artist, with his involvement in creating this new modern Swamp Rock sound, but also as the member of the first Native American rock band ever in history: Redbone. This makes me extremely proud. Mind you, I’ve grown up with the issue of Dad’s fame, so I don’t see like most people see it. Tony Bellamy’s just my dad. Period. When I hear or read about Dad’s fame and importance in rock history, frankly it makes me chuckle, because I know my dad would just be so excited to hear that said.
Most people don’t realize, but since Dad was young, all he wanted to be was a superstar. That of course was his lifetime childhood dream and it spilled over into his adult life. Tony Bellamy never stopped desiring that dream, even when he was enduring those grueling tours with Redbone. Being a rock star is absolutely NOT EASY. But, Dad never complained, because he understood the price of success: hard work! So, Dad always reached for his dream, he always sought it out in any way he could, whether it was doing a gig in a little dive bar, or doing tributes and reliving the whole Redbone memory for the fans. Dad was so proud to be any part of that whole rock ‘n’ roll experience.
One specific story I do remember is that Pete De Poe always liked to play barefoot. My mom told me that he was always barefoot, even when he played. [Editor’s note: Pete De Poe was known as the “barefooted drummer.”] Now that’s pretty cool, if you ask me. The only other instance I can think of where you have a barefoot rocker is the famous photo of Paul McCartney strolling through the crosswalk for the Abbey Road album cover in 1969. I would add that Pete and my dad always stayed in touch even after Redbone broke up.
Billy Cobham, Top 100 Drummers of All Time
Though Pete De Poe and I played together, in this regard, I cannot say for sure what the details are as we did not perform on the same project very often. However, I know his playing style. Pete is a pocket drummer. His main thing is maintaining the groove. I think that Pete’s concept of drumming is a good example of minimalism. He is a very economical musician who tries to play the right notes at the right time.
Whether or not Pete De Poe and Redbone belong in the Rock and Roll Hall of Fame, let me say that if it would make a difference, I would vote for Pete De Poe and Redbone to be inducted. I feel like it is a natural home for their music, much more so than Dreams (1969) and Mahavishnu Orchestra (1971), two bands that I am known to have worked with in the 1970s.
Dave Garibaldi, Top 100 Drummers of All Time (Via Drumeo: “The Most Important Drum Beat I Vere Learned”)
According to the author, “As David and I were discussing his lesson material for Drumeo, he began talking about a drum beat that heavily influenced his own playing and was popular amongst drummers in the early 70’s: the “King Kong” (created and coined by Pete De Poe). Today, David’s here to show and teach you this groove that inspired his overall sound that we’ve all come to love.”
Mark Guerrero, Mark and the Escorts, “Scribe of Chicano Rock History”
In our phone conversations, Pete De Poe told me many stories about his time with Redbone; some are confidential. Here are a couple of things I can share that stand out in my memory. Pete told me he used the beats per second of the average human heartbeat for the tempo of “Come and Get Your Love.” His idea may have added to the success of the record because it possibly tuned into people’s natural biorhythms, the perfect, organic groove.
He also mentioned that on “Chant 13th Hour,” an incredibly funky track on Redbone’s “Potlatch” album, the beat accidentally turned around about two thirds of the way into the record. The beat “turning around” means that the backbeat of the snare drum, in this case with some variation, flipped around to where it was hitting on other random spots in a very syncopated way. After about a minute, the beat turned back around to the backbeat for the rest of the record. Since the tempo and groove always stayed true and on time, they went with it and used the track as is. Miles Davis famously once said, “There’s no such thing as a wrong note.” I suppose that could also apply to drums when the drummer stays on tempo and makes the unexpected beats work.
One of the hallmarks of Redbone was their funky grooves. Pete De Poe was a perfect fit for the band, because his drumming was extremely funky. Lolly Vegas once told me they had a word for when they went beyond funky. The word was “funkay,” with the accent on the “kay” (fun-káy). It’s a word they coined to describe songs and performances where the word “funky” was inadequate. Pete De Poe was definitely funkáy.
Butch Rillera, The Righteous Brothers Drummer, Redbone’s Third Drummer
Oh, Pete De Poe was great! I had been listening to Jazz covers when I just started out as a musician. So, when I heard Pete play, I thought, “Wow! This is cool. The guy plays Jazz, and yet he plays rock, too.” It was really nice. It was so different. Frankly, Pete’s playing style made me have a whole different approach to playing. He was great. I really loved the way Pete played. I suggest you watch that Dave Garibaldi interview (Vimeo Presents) on the King Kong Beat. Garibaldi shows you how the beat is different. You hear it. It’s different. It catches your ear.
The first time I heard Pete De Poe play was of course on the first record, the first album, Redbone (1970). Then one night, Redbone was playing after hours at a club I was playing at, The Clubhouse (2120 North Main Street, Santa Ana, California, now a shopping center). That’s when I actually met Pete De Poe for the first time and heard him play live. He just blew me away . . . just blew me away. That same night, Pete and I were just talking, and he showed me the King Kong Beat, he showed me how to play it.
If I made a list of the top 100 drummers of all time [Editor’s Note: “Butch Rillera’s Best of the Best Drummers” list – which would be some list!], Pete De Poe would be one of those drummers. Pete De Poe was innovative, and he was original. Pete came up with that beat, and everyone said, “Wow! That’s cool. It’s different.” Yeah, Pete definitely has to be in the top 100 drummers of all time. Pete De Poe was a great player, man.
I know Pete is very humble about his extraordinary abilities. When I first met him, I told Tony Bellamy, “Man, this guy plays his ass off!” Tony responded, “Yeah, he doesn’t believe he’s any good at it.” I remember Lolly telling me this story once about when Redbone did a tour in Europe. They played with – I think it was King Crimson. Lolly said that Pete stood backstage and watched the drummer (most likely Ian Wallace), and he wanted to quit. He told Lolly, “Oh, man, there’s no way I could ever play as well as this guy.” Lolly told me, “Man . . . that REALLY affected him. Pete never really thought he was any good, especially after seeing this guy [Wallace] play.” After Lolly told me this, I thought to myself, “Wow. You’ve got to be kidding.”
Pat Vegas, Pat and Lolly Vasquez, Author (Come and Get Your Love, 2017), Redbone Co-founder with Lolly Vegas
I will say this from the bottom of my heart: Pete De Poe is probably the most creative, spontaneous killer drummer that I ever heard. I mean, right off the top of his head – anything he’d create was a masterpiece; it was different, you know, it was different in every way. And the way Pete played, he was ambidextrous. So, he could play left handed and right handed . . . and when he’d switch, I had to switch. You know what I’m saying?
So, that’s what made it so interesting. Pete was such a . . . great drummer! His timing was also impeccable. We [Pat, Lolly, Tony and Pete] could go off into four different directions, and yet we’d all meet at the same time in the middle there, together time wise. I mean, nobody would be keeping time, yet Pete was able to keep us all together. It was incredible! A great trip, a great ride, you know? A once in a lifetime experience.
With respect to the timing issue, when we played the instrumentals [e.g. “Suite Mode,” “Jambone,” et al.] we had to play off of each other. Some of them were twice as long as they are on the record. I had to edit them down to where they are now. But, these songs are a good example of how Pete kept us all in time through his drumming.
As a result of our dedication to our rehearsals, when we went into the studio to cut our first album [Redbone, 1970], we were well-rehearsed. In fact, half the songs were “in the can” within an eighteen hour stint or so. Now, this story has been told over and over, but I’ll tell it again. As I get older, the facts seem to flush out more clearly. Bobby Womack brought Pete to us. Redbone had Wayne Bibbs on drums at the time, and Bobby had Pete De Poe. One day, I was with Wayne Bibbs, and Bobby Womack came over to the house where we rehearsing over there on Mulholland Drive.
Bobby pulled me into the kitchen and said, “I want to talk to you.” I said, “All right.” We were both standing there having a drink and talking. Bobby said to me, “You know, I’ve got this drummer from Seattle, man, and he’s Native American – full blood. He’s a bad boy, man! I think he’d be perfect for you guys.” Bobby added, “I want you to hear him.” I replied, “Well, we have Wayne Bibbs, and he’s a bad drummer, too.” Bobby retorted, “Yeah, I know he is, but this guy’s just as good, man.” A bit startled, I said, “Really? OK . . . have him come over tomorrow afternoon to the house.”
The next day, I drove up to the house to rehearse. I had my bass with me, and I heard Lolly, Tony and Pete playing – only I thought it was Wayne Bibbs! See, I heard the playing from the outside of the house, and I stood there a few minutes or so listening; but the sound was different. I heard that Native – the Native drum. This sound was a little more authentic. Excited, I ran into the house and I’d be damned if it wasn’t Pete De Poe! I plugged in immediately and we were gone! The rest is history.
I’ve played with many, many drummers in my long career. In terms of the greatest drummers I’ve ever played with, Pete De Poe is one of the best and ranks equally with the following: 1) Gene Pello, who studied with Buddy Rich and was touring with Rich when he was five years old. When I met him, he was nineteen years old. Pello is one of the baddest drummers I’ve ever played with; 2) Another one would have to be David Garibaldi of Tower of Power. His style reminds me of Pete’s; 3) The guy from King Crimson was another – Ian McDonald. Redbone played with his band in New York City, and they opened for us. That drummer was incredible. I have to laugh . . . I remember Pete backstage with Lolly watchin’ this guy McDonald play. Pete was like, “Damn!” I remember that Pete was in awe of this guy’s talent. I told Pete, “Man, that ain’t nothin’ but a drumstick. Aint’ nothin’ but a chicken wing.”; 4) Mike Kowalski was great, too. He’s right up there with the best drummers I’ve ever played with – hands down! That’s why The Beach Boys had him for so long. Mike’s one of the best.
One show that I remember clearly where Pete De Poe was able to show off his amazing drumming skills was the Sky River Rock Festival. [Washougal, Washington, August 28-September 8, 1970.] Every major group in the world was there. You name them, they were there: Johnny and Edgar Winter, The Allman Brothers, Black Sabbath, Humble Pie, Ringo Starr, Billy Preston, Jefferson Airplane. Again I say, everybody was there. You see, I cut Pete loose. He was told to just “Go, man!” He took a solo. Then, Pete got up and walked around his drums. It was great! It was great.
The story has been told of how I saved Pete’s life on the stage in Europe. I remember looking down into a dark hole. I don’t know exactly how far it went down, but it was far enough to kill us both. I couldn’t believe it then that this hole was there on the stage, and I still cannot believe it now. Consider this: Here was this massive hole with a carpet thrown over it! The stage was actually up several floors from the ground floor. That scared the s*** out of me; undoubtedly, Pete, too. What a nightmare. Here, he was dangling and I’m holding him from falling into this dark hole. I remember thinking, “If we both go down this hole, we’re done!” So, Pete’s yelling, “Help!” I grabbed Pete, and then somebody grabbed me. It was a nightmare. I guess you could say, I literally saved Rock ‘n’ Roll from losing Pete De Poe. Unbelievable.
Respectfully,
Jim Hoffmann
Enc: King Kong Pete