You are using an outdated browser. Please upgrade your browser to improve your ReverbNation experience.
Gregory Rawlins spent most of his childhood exploring the rain-sopped forests of Port Orchard, Washington, building forts and popping wheelies along the way. Pinecone fights were rampant, and the playground of the school he walked to each morning was big enough to exhaust the children properly.
Though he went unpaid, his first job was standing up rounds of Fir, Hemlock, and Cedar for his father to split-- before they were loaded up and sold. This was a side job his father performed between playing cops and robbers. His mom was a mail lady.
Before folks built houses in the woods behind them, the Rawlins’s lit their bonfires by rifle. True, explosives of most kinds were readily available in such a locale, and it wasn’t uncommon for Gregory to save recycled beer can money for months just to spend it every July in a single Skokomish Indian Reservation visit.
And while the thrill of ignition left an indelible mark on the child, this penchant for destruction was no match for his even more fervent drive to preserve. In his many walks through the woods, the grandeur of the landscape, the lushness of the foliage, and the diversity of life above and below enamored young Gregory over all things.
Each spring the white trillium would sprout amid the salal and sword fern, late summer yielded hillside blackberries and creek side salmonberries, and the foreboding fall birthed spectrums of bubbly, glistening fungi. The forest was always something he feared and respected, because it, like him, breathed, spoke and sometimes bled.
The music Gregory Rawlins chooses to write never fully peels itself from such impressions.
Rawlins’ influences draw from a mash-up of classic rock, early country music, and the Seattle grunge wave of the early 1990s– genres illustrated in his solo work, as well as in Sons of Guns, a band he co-fronts with longtime friend Mike Surber.
In 2008, Rawlins self-released “The Amazing Circle of Boxes,” his 19-track debut album recorded between 2002-2007 during the interims of band activity, in a series of bedrooms, basements, garages and warehouses. At times simple and meditative, at times erratic, spacey, distorted and fused with a myriad of electronics and natural sounds, Rawlins auspiciously established himself as unique entity among American musicians.
The envelope of experimentation was pushed even further with his 2010 release “Fuggit, I’ll Bet a Hunnerd,” a dust-covered, booze-draped daydream, centered around the concept of one’s struggle to embrace the magical and maddening affects of life in the Grande Ronde Valley– an area Rawlins has inhabited off-and-on for the past decade.
Between Sons of Guns activity and his own excursions, Rawlins has been seen performing his ditties on anything from a street corner to a festival stage, alongside a gradient of artists such as Tartufi, Finn Riggins, Hillfolk Noir, Blitzen Trapper, Jared Mees and the Grown Children, Run on Sentence and Laura Gibson.