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Sleze

Sleze was a short-lived American band formed in , , in 1984, primarily known as the debut musical endeavor of vocalist , who would later rise to prominence as the frontman of . The group, which initially focused on cover songs and adopted a flamboyant glam aesthetic typical of the era's hair metal scene, featured Staley alongside musicians including guitarist , bassist , drummer Byron Hansen, and keyboardist Chris Markham. Operating in the pre- music landscape, Sleze performed at local venues such as high school events and clubs like the Rock Theatre's Gorilla Gardens, with notable appearances including a 1985 performance of "False Alarm" at Lakeside High School. By early 1987, the band rebranded as amid shifting lineups and stylistic evolution, disbanding after a final show that August, marking a transitional phase for Staley from glam influences toward the heavier sound that defined his later career. Though largely obscure and undocumented beyond demo tapes and eyewitness accounts, Sleze represents an early snapshot of Staley's raw vocal talent and the local rock circuit's diversity before the explosion overshadowed such acts.

History

Formation (1984)

Sleze was formed in 1984 in Seattle, Washington, by guitarists and Zoli Semanate, drummer , and bassist Byron Hansen, all students at Shorewood High School. The group began as a garage band focused on , primarily covering songs by acts such as Mötley Crüe and . Vocalist Layne Staley, then 17 years old, auditioned and joined Sleze later that year after being encouraged by his stepbrother to try out; the audition took place in the basement of one of the band members. With Staley's addition, the lineup stabilized for initial performances, though the band remained a cover-oriented outfit without original recordings at this stage.

Expansion and Key Performances (1985–1986)

In 1985, Sleze expanded their local presence in through increased live performances at high school events and clubs, reflecting the band's growing activity as a glam metal cover outfit primarily drawing from influences. On June 6, 1985, the band, featuring vocalist , performed at Lakeside High School, showcasing Staley's early stage presence at age 17 alongside guitarist , bassist Byron Hansen, and other members. Later that year, around September 21, they played at the Rock Theatre's Gorilla Gardens venue, a key spot for 's emerging rock scene, where the group donned exaggerated glam attire including teased hair and makeup. These gigs helped build a regional following amid the mid-1980s hair metal trend. The band also gained media exposure that year via a "Town Meeting" segment addressing the (PMRC) controversy, during which Staley, dressed in full regalia, argued against parental of ratings, emphasizing . At the time, Sleze had secured a deal with a local record company, signaling early professional steps despite their focus on covers of bands like and Mötley Crüe. Additionally, in 1985, members including Staley contributed to the independent film Father Rock by recording a version of Juvenile's "In for Trouble," with Staley appearing on-screen as "Candy Layne" in a that highlighted the band's . Lineup adjustments occurred during this period to refine their sound, with core members like Staley, Bergstrom, and remaining while guitarists such as and others rotated to support more ambitious sets blending covers and nascent originals. By 1986, this stability enabled Sleze to produce their first tape, capturing live-rehearsed material that demonstrated improved cohesion and preparation for broader opportunities. Key 1986 performances continued at local venues like practice spaces and clubs, though specific dates remain sparsely documented, underscoring the band's transition from garage-level gigs to semi-professional output before further evolution.

Transition and Disbandment (1987)

In early 1987, Sleze transitioned by renaming itself , a change that occurred by March amid ongoing lineup stability with on vocals, on guitar, on bass, and on drums. The rebranded group maintained its orientation, focusing on covers of acts like Mötley Crüe while incorporating emerging original material, and performed locally in the area, including a June show at Kane Hall and a radio on KCMU. Billed as "Over and Super Sleazy ," the band captured a live set at the Little Tacoma Theatre that year, showcasing high-energy performances of covers and select originals. Alice N' Chains' final performance took place in August 1987, marking the end of active operations as internal shifts prompted members to explore separate paths without reported acrimony. The disbandment reflected the short-lived nature of the Seattle glam scene's appeal, with Staley and others leveraging experience toward new ventures, though no formal recordings beyond demos and the live tape circulated widely at the time. This closure allowed for an amicable parting, preserving relationships among core members who had collaborated since high school.

Musical Style and Output

Influences and Cover Repertoire

Sleze drew primarily from the aesthetic and sound of mid-1980s bands, adopting high-energy riffs, anthemic choruses, and theatrical stage presence characterized by makeup, flashy clothing, and drag-inspired attire. The band's style emulated groups like Mötley Crüe, with Layne Staley's vocal delivery often compared to Vince Neil's raw, aggressive timbre. This influence manifested in their self-described approach of "dressed in drag and played ," blending glam's visual excess with faster tempos and heavier elements akin to emerging acts. As a predominantly cover-oriented band, Sleze's repertoire focused on hard rock and metal standards to build a local following in Seattle's club scene, performing at venues like high schools and small theaters from 1985 onward. Their setlists included and tracks, prioritizing crowd-pleasing familiarity over originals, which were minimal or absent during their active period. A confirmed staple was Mötley Crüe's "" from the 1983 album , reflecting their affinity for the genre's sleazy, high-octane party anthems. Other documented covers in their performances encompassed a mix of and proto-metal songs, such as "Stakk Attakk" (associated with influences) and "Love Machine" by , showcasing versatility beyond strict into soul-infused rock and heavier territory. Setlists from shows, including a May 1, 1987, performance at Tacoma's Little Theatre, featured recurring tracks like "Don't Be Satisfied," "Lip Lock Rock," and "Hush Hush," many of which aligned with the era's / metal playbook, though specifics on original vs. cover status vary by anecdotal reports. This cover-heavy approach sustained gigs amid lineup flux but limited recorded output, paving the way for original material in their successor band, .

Original Compositions and Recordings

Sleze's repertoire consisted predominantly of cover songs from and acts, with original compositions emerging only toward the band's later phase in 1986. These originals, developed amid lineup shifts and the transition to the moniker, included "Lip Lock Rock," "Fat Girls," and "Over the Edge," which featured upbeat, riff-driven structures emphasizing party anthems and explicit themes. The band's sole known recording of originals occurred on a self-produced tape in , captured at a local studio with producer Tim Branom. Tracks like "Fat Girls" highlighted vocalist Layne Staley's high-energy delivery over guitar-heavy arrangements, marking Sleze's shift from pure covers to self-penned material influenced by contemporaries such as Mötley Crüe. This , initially labeled under the Sleze name, circulated informally among fans and band associates but received no commercial distribution. Live renditions of these songs were documented in footage from performances, including a 1986 appearance in the Father Rock, though audio quality remains poor in surviving clips. No further original recordings were produced under the Sleze banner before its disbandment, limiting the band's documented output to this transitional . copies and uploads preserve the material today, offering insight into Staley's early songwriting contributions amid the Seattle glam scene's emphasis on spectacle over studio polish.

Band Members

Core and Final Lineup

The core lineup of Sleze, which provided stability amid frequent changes, featured vocalist Layne Staley, guitarist and bassist Johnny Bacolas, and drummer James Bergstrom, all of whom contributed to the band's performances from its early days through its final phase. Staley, who joined shortly after the band's 1984 formation, handled lead vocals with a style influenced by , while Bacolas and Bergstrom anchored the rhythm section, enabling the group to perform covers and limited originals at venues. By late 1985, the band had solidified around this , with additional guitarists rotating in to support live sets, reflecting the fluid nature of early rock scenes where members often filled multiple roles due to limited resources. Bacolas, a founding member, shifted between guitar and bass as needed, providing continuity in songwriting and arrangement. The final lineup of Sleze, preceding its 1986 rename to , comprised on vocals, on lead guitar, on bass, and on drums. This configuration recorded informal demos and appeared in local media, such as the 1986 Father Rock, where Pollock's guitar work complemented Staley's vocals during a performance excerpt. The shift to this lineup followed departures of earlier members like bassist Byron and guitarist Zoli Semanate, streamlining the group for its transition. This iteration disbanded amicably in 1987 after a final show in August.

Lineup Changes

Sleze's lineup underwent multiple adjustments between its formation in 1984 and its rebranding as in 1986. The original configuration included vocalist , who joined after auditioning in drummer James Bergstrom's basement, alongside guitarists and Zoli Semanate, bassist Byron Hansen, and Bergstrom on drums—all Shorewood High School attendees except Staley. Semanate departed early, prompting guitarist Chris Markham to join as replacement. Hansen later exited, with assuming bass duties temporarily. Around 1985–1986, was recruited for guitar, coinciding with Bacolas shifting from guitar to bass to stabilize . Sheppard returned to his prior band , leading to interim bass support from Mike Mitchell. These shifts, often driven by members' side projects, contributed to the band's fluid sound before its 1987 disbandment.

Legacy and Post-Sleze Developments

Connection to Alice in Chains

Sleze underwent a name change to in early 1987, reflecting a shift while retaining its glam metal orientation, with the moniker suggested by Klatt of the band Slaughter Haus 5 to evoke imagery of a woman in bondage, aligning with the era's provocative aesthetics. The rebranded group, still featuring vocalist alongside core members , Zoli Semanate, , and Byron Hansen, performed its final show in August 1987 before disbanding amid internal changes and the evolving music scene. Following the dissolution, Staley encountered guitarist in 1987, leading to the formation of a new ensemble initially comprising Cantrell's prior collaborators Mike Starr on bass and on drums. Staley proposed reviving the Alice 'N Chains name for this outfit, which was adapted to —dropping the apostrophe and "N"—to honor his previous project while signaling a departure from glam influences toward heavier, sludge-oriented rock. This continuity in nomenclature linked the short-lived glam act directly to the grunge-era band that achieved commercial success, with Staley's vocal role persisting across both iterations. The transition underscored Staley's pivotal role as a connective thread, though the musical styles diverged sharply: Sleze/Alice 'N Chains emphasized covers of acts like Mötley Crüe and in a high-energy, image-focused format, whereas the reformed prioritized original compositions blending metal riffs and harmonic interplay, unburdened by glam's theatrical elements. No original recordings from the glam phase were commercially released, limiting direct audio comparisons, but archival footage and eyewitness accounts confirm Staley's early vocal prowess in a lighter, more theatrical vein. This precursor phase, often overlooked in Alice in Chains' narrative, highlights the band's roots in Seattle's pre-grunge glam undercurrents before the genre's seismic shift.

Subsequent Careers of Members

Following the disbandment of Sleze (later known as ) in August 1987, vocalist encountered guitarist while both were involved in Seattle's local music scene; Staley briefly joined Cantrell's band Diamond Lie before the pair, along with drummer and bassist Mike Starr, co-founded later that year. achieved commercial success with albums such as Facelift (1990) and (1992), selling millions of copies, though Staley struggled with heroin addiction throughout his career, leading to his death from a speedball overdose on April 5, 2002, at age 34. Guitarist and later bassist , a founding member of Sleze, transitioned to , co-founding the band in the early 1990s, where he primarily played bass and contributed to their self-titled album released in 1995 on . toured with and released a follow-up album, Lighthouse, in 1998 before disbanding. Bacolas has since participated in reunion performances and archival releases related to his earlier projects. Drummer , another original member, also joined after Sleze, providing drums for their output and maintaining a lower-profile career in Seattle's rock scene thereafter. Early guitarist Zoli Semanate, who departed Sleze prior to its name change, shifted to , joining the band that evolved into The Dehumanizers, a group that gained a in the Pacific Northwest underground scene during the late and . Original bassist Byron Hansen and later guitarist pursued limited or undocumented musical endeavors post-Sleze, with no major recordings or bands attributed to them in available accounts.

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