Sabannah Breeze interview
Sabannah Breeze was an obscure psychedelic rock band from Houston, Texas. Their only existing recording is the track ‘Slave’ that appeared on ‘Acid Visions’ compilation by Collectables from 1991. It was extremely difficult to locate member of this group, but finally here’s their story. Dark, hypnotic and lysergic!
“Time came for us to play and there was an incredible vibe during our set and people gave us 3 encores.”
Sabannah Breeze interview with Rick Blissard
It was really difficult to find you. You were the drummer for Sabannah Breeze?
Rick: Yes. From my point of view, the interpretation for breeze was multifaceted in that a breeze could be several variations from gentle to strong. Our songs were just like that, some strong and rockin’ and some soft and gentle.
Who were the other members of the band?
Rocky Yarbrough, Loel Passe Jr and Jimmy Narum and myself Rick Blissard.
You formed in Houston, Texas?
Yes. At that time, I believe most of us were in college/university around the age of 19 give or take a year. We lived in the southwestern part of Houston.
Did you release any material at that time?
No, we hadn’t signed a contract at that time, but the song ‘Slave,’ and another song we had recorded – ‘Together,’ were played on a popular underground station, KAUM, the first FM stereo station in Houston which played it regularly. Our sound was just developing and our pallete was wide and diverse.
So you haven’t released a single.
I wish, but no unfortunately. Near the end of our run together we had a whole album and more with at least two or three singles that could have been released.
Where did the compilation label find the recording of ‘Slave?’
That is a mystery to me, but thank you to the person that posted it, because without it, I would never have gotten to hear it again.
You mentioned that you had a contract with a subsidiary of Capital Records.
To be as accurate as possible, maybe it was, but maybe it wasn’t. Rocky sent me the paper he still had of the contract which I hadn’t seen in decades.
What happened?
The name of the company was Pacific-Southern Music Industries. A man, Rob Roy, came out to see the band play a gig and called us back to say they would sign us. After a time for the contract to be written up and reviewed by our lawyers, we signed. He told us they were already working with Three Dog Night, Buck Owens and Bread.
You recorded the whole album?
It wasn’t long after signing the contract that we were recording our songs.
Where did you record it?
We were in Huey Moe’s recording studio, Sugar Hill. It was the studio in Houston, Texas at that time.
What kind of equipment did you use and who was the producer?
Haha, I was just a young man who loved to play music. I want to say Huey had a 24-track tape machine. Possibly an Ampex. I remember Huey’s reverb and echo chambers he had built for his studio. No EFX machines for those effects. As far as equipment the band used, I played Ludwig silver sparkle double bass with 3 toms and Zildjian cymbals. Rocky played a Gibson SG and had a 1970 Marshall 100W Super Lead stack. Loel had an Acoustic 150 stack and Jimmy played an 18” reflex Acoustic speaker cab with an Acoustic 450 head.
Are you in contact with any other member of the band?
Yes, my best friend, Rocky and I still are close. We live in the suburbs of Denver, Colorado. We met and became friends in Houston before the band came together though it was because of an advert Rocky placed in a music store wanting to get with some musicians to start a band and I was wanting the same thing. I called him and the rest is history. We don’t live real close to each other, but we still find time every now and then to jam or just visit. He still keeps in touch with Jimmy, who still lives in Houston.
Are there any recordings left?
This is the saddest part of going over these memories, no, because a man stole them all and disappeared with them and who knows where they are today.
How would you describe the sound of your album?
I believe most people we talked to said they felt Pink Floyd and Moody Blues sensations.
What are some of the strongest memories from recording it?
Anyone can connect with the realization that when you’re doing what you’ve always dreamed of, the overall sensation is one of complete bliss of enjoying doing what you believed at that time was your highest goal. Having a song recorded, puts what was at one time just a tune in your head and gives it a tangible expression that can be enjoyed again and again without limit. I just remember being fulfilled and happy doing what we did every day.
‘Slave’ is a very dark and unusual song…the tribal drums, chains, eerie atmosphere…
The whip and the chains came courtesy of the engineer who thought the theme equaled the effects. Rocky was lead screamer and fulfilled the screamer excellently.
What influenced the bands sound?
There were so many influences. I played in different rock bands playing the likes of Soul, Blues, British Invasion, Progressive Rock and Southern Rock.
“I had my share of trips”
Were you inspired by psychoactive substances like LSD at the time of the writing?
I had my share of trips that added to the mix.
What sort of venues did Sabannah Breeze play early on?
Music was just exploding in our day and besides a variety of clubs, there were venues that just pooped up out of nowhere. We played on Sundays at a church outdoors. We played in an abandoned house out in the country that was cleaned up enough to have people come and listen. We played schools proms and dances. When Astro World in Houston existed we played at their outdoor venue which had bands every weekend. Our biggest show was at an Outdoor Rock Festival in the small town of Lufkin, Texas. There were 3,000 people who showed up to see what was going on and we had several encores being the features band. Many times we followed ZZ Top by playing the next week end at different venues they had played at.
There’s a great story when we played at Astro World. There was a band in town that had been around before we formed called Saturnalia. They were very popular for several years. They were the main band and we were the opening band. We respected them and helped them with their equipment getting it on the stage. Time came for us to play and there was an incredible vibe during our set and people gave us 3 encores. Saturnalia came up and I figured with the enthusiasm we generated, they should have a great night. Nope. When we left the stage, the crowd went back to the amusement park and left just a sparce number of people. When it was all over, the band members put us down and said we robbed them. What? We just became their scapegoat. Their band was already on their way out just like we would be several years later. They were done after that Summer.
Were you familiar with other psych bands from Texas? The 13th Floor Elevators and the likes?
They were the only psych band I ever saw in person. Years later, I actually met one of their original guitar players at a gig.
How did you decide to use the name Sabannah Breeze?
Someone thought about Breeze and another remembered an old train line called Natchez and Savannah. Someone suggested changing the “v” to a “b” and now you have Sabannah. I always looked at it as you never knew what you were going to get with a Sabannah Breeze. It could be gentle and it could be forceful. It matched our style for light and heavier rock tones.
Looking back, what was the highlight of your time in the band?
The Lufkin Rock Festival was probably the highlight for me. After experiencing just 3,000 people screaming and shouting, “More, more, more!,” I can fully understand why rock stars are hocked to the high you get from responses like that. It’s a type of sonic drug that only a few people will ever experience that’s unlike anything you’ve ever experienced. Now that’s not the real highlight, though it is probably number two. The real highlight during the Lufkin Festival was hearing people’s response to what you had worked so hard for, had a part in creating and producing the arranging, playing and writing what people were now saying in their response to our playing. It was more at that moment than just some people applauding for a common song they’d heard all their life. It was a song they’d never heard before and when it was all said and done, they overwhelmingly said, “Wow, I’m blown away!”
I need to add that though the band Sabannah Breeze ended in the late 70’s, Loel and a mutual friend, Randy, (who during Sabannah Breeze days was one of our equipment men) moved to Colorado. After several years, Houston hit an economic wall with the oil industry suffering a severe setback which severely affected the overall economy in Houston which was driven by oil. I had just about run out of work when Randy called me up and asked if I would be willing to come to Denver and help him out with an abundance of work he had. Before leaving Houston, we had teamed up as painters for a few years even while the band was together. I, needing the work, said yes and worked two weeks there with him. Little did I know until I got to Denver, Loel and Randy were starting a new band. We had some rehearsals and my music juices were flowing again. I came back home and he called again saying there was more work, would I come back again? Yes, was my answer, not only to work, but for getting together playing music. In just another couple of weeks and we were packing and moving to Denver. It wasn’t long before we were calling Rocky to see if he could move up so the band would be complete again. Rocky worked for the phone company and after some time was able to transfer up to Colorado.
We called the new band Emerald Edge and new songs started being produced, which I’ll add the link to on YouTube, and we really jelled quickly. Over the next few years, we had done some more recording and ended up with a number of songs. Unfortunately, over time there was a schism between old friends that ruined any chances of success. Only Rocky and I stayed together. Rick Blissard
Klemen Breznikar
